Category: Discovery Blog - Page 22

From Massachusetts to Hawaii | Honoring Our Teachers

Written By Piano Inspires

A map of the United States with push pins indicating the locations of the teachers honored in this post.

As we enter the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. From Massachusetts to Hawaii, students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign.

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.

Paz Rivas honors Penny Lazarus from Newburyport, Massachusetts

Penny has been a blessing in my daughter’s life. Penny has helped her gain confidence and has created a sense of discipline, consistency, and fun in learning that was and continues to be so important to her right now. Last but not least, Penny is patient and kind, and my daughter loves learning how to play piano. Penny is so special, she approaches each lesson with such enthusiasm and passion after so many years of teaching (especially with the youngest students). We are grateful to have found her, and Newburyport is lucky to have her.

Merrie Skaggs honors Betty Todd Smith from Olathe, Kansas

Betty Todd Smith personifies the “Power of a Piano Teacher,” and I am delighted to recognize her. Betty has made a difference in my granddaughter Rylee’s life with Betty’s encouragement, finesse, knowledge base, and passion for piano. Rylee observed recently, “I may go into my piano lesson in a bad mood but I come out in a good mood.” The care and feeding of her soul that Rylee receives from Betty and piano have been immeasurable. Rylee is an active athlete and as she started high school this fall, I asked her if she planned to continue with piano throughout high school. She looked at me like I had two heads and said, “Of course, Granny!” I appreciate the positive impact that Betty and piano have made on Rylee’s life.

William Hughes honors Margaret Roby from Terre Haute, Indiana

Margy’s teaching career has been exemplary in every way. All of her students know she is interested in more than their piano progress. She is a nurturer by nature, and her students have always been devoted (as have their parents!). I have had the pleasure and privilege of working with students that she has sent to study with me. In every case, they had been expertly prepared and were a joy to work with—no “transfer repairs” necessary. She has been a leader in our local and state music teachers associations and is an inspiration to all of us.

All of her students know she is interested in more than their piano progress.

Daniel Tsukamoto honors Donald Zent from Wilmore, Kentucky

When I first met Dr. Zent at Asbury University, I noticed his sweetness and meekness, but I never realized how much he was going to change my way of performing piano. He demonstrated that I don’t need to play loudly all the time, and he gave me the liberty to select pieces that interested me. He was very compassionate when helping me find another way to memorize piano pieces besides listening. He was calm in demeanor and spent equal time with each of his students. I am thankful for his guidance during my student years at Asbury University.

Lloyd Lim honors Carolyn Stanton from Honolulu, Hawaii

Carolyn Stanton is my sixth piano teacher, and I made surprising progress over a five-year period. They say you can’t teach an old dog new tricks. Well, I’m an old dog, and I still learned a lot!

Madelyn’s inspiration helped to make my dream come true!

Sarah Roy honors Madelyn Trible from Lafayette, Louisiana

Madelyn was my first piano teacher as I began a bachelor’s degree program in vocal music education. After three years of lessons, she encouraged me to take a pedagogy class. I loved working with the two fifth-grade girls assigned to me that semester. Eleven years after that degree, I returned for three more years of lessons with Madelyn. Then I studied organ for three semesters, since I had a dream of playing in a church someday. I have been an organist in a small rural church since October 2013. Madelyn’s inspiration helped to make my dream come true!

Honor your teacher today by joining our “Power of a Piano Teacher” campaign.

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This Week in Piano History: Ignacy Jan Paderewski Resigns from Polish Prime Minister Position | November 27, 1919

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we reflect upon the resignation of Ignacy Jan Paderewski as Prime Minister of Poland on November 27,1919.¹ An important pianist, composer, and statesman, Paderewski’s influence and legacy in Polish culture and early twentieth-century politics is undeniable.

Paderewski was born in Kursk, Podolia, which is now part of Ukraine. He had a complicated childhood as his mother passed away after his birth and his father was arrested due to his suspected involvement in a political uprising. Despite the challenges his family faced, Paderewski studied piano as a child and showed great potential. His talent helped him find opportunities to study in the Warsaw Conservatory and to establish himself as a pianist and composer. His challenges did not stop there—after marrying his first wife, Antonina, they produced a son named Alfred. Both Antonina and Alfred died young, causing great distress to Paderewski. He also struggled professionally, barely making ends meet through his musical career.

Paderewski’s Piano Concerto in A minor, Op. 17

After traveling to Berlin, Paderewski met a number of important composers who encouraged his career.²This experience led him to the opportunity to study with Theodor Leschetizky, a highly respected piano teacher of the nineteenth and twentieth centuries. From here, Paderewski was able to establish himself as a performer, touring the United States and Europe. One of Paderewski’s most popular pieces was his Piano Concerto in A minor, Op. 17, written in 1888. The piece, dedicated to Leschetizky, is infrequently performed today, but contains a variety of technically challenging passages in a typical Romantic style.

As a performer, Paderewski was well respected as a masterful and spontaneous performer. He frequently personalized his interpretations of other composers’ works noting: “It is not a question of what is written, it is a question of musical effect.”³ Despite the public’s admiration, Paderewski greatly struggled with nervousness throughout his concert career, frequently taking extended breaks in order to recover from the strenuous concert schedule he maintained.

Paderewski’s role in Polish politics is complicated. Throughout his life, Paderewski often championed causes for Polish independence. Poland was frequently partitioned by neighboring empires in Austria, Germany, and Russia prior to gaining independence in the twentieth century. During the First World War, Paderewski made Polish causes a focal point of his public activities. Woodrow Wilson, then President of the United States, requested his help in securing votes for his presidency in return for supporting Polish independence.⁴

A rare recording of Paderewski performing Chopin’s “Heroic” Polonaise in A-flat Major, Op. 53

After the war ended, Paderewski was tapped by Józef Piłsudski, then the Polish Chief of State, to become the Prime Minister of Poland. He was ousted after less than a year in the position due partially to his underdeveloped leadership skills. Although Paderewski represented Poland again in 1920 in political office, he again resigned and returned to pursue a career in music before dying on June 29, 1941 in New York City.

Looking back on Paderewski’s life and career, it is clear that Paderewski frequently overcame obstacles that challenged him personally and professionally. His legacy as a pianist and statesman shows the results of his tireless efforts to find purpose and success in his difficult life.

Sources

Some sources give conflicting dates (December) for Paderewski’s resignation as Prime Minister of Poland.
Jim Samson, “Paderewski, Ignacy Jan,” Grove Music Online, 2001, accessed 15 Nov. 2022, www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000020672.
Ibid.
Ibid.

Dr. Curtis Pavey is a pianist, harpsichordist, and educator. A performer of works from the 16th through the 21st centuries, he feels equally at home performing or teaching at the piano and the harpsichord. He is currently based in the Cincinnati area and maintains a private piano studio.

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This Week in Piano History: Death of Dame Myra Hess | November 25, 1965

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we remember Dame Myra Hess, a British pianist who died on November 25, 1965. Hess rose to fame due to her lunchtime concerts in London during World War II and later became Dame of the British Empire (DBE) in 1941 in recognition of her outstanding musical achievements.

Hess was the youngest of four children and began studying piano at the age of five. She was a remarkable young talent and was admitted to both the Guildhall School of Music and the Royal Academy of Music where she studied with pianist Tobias Matthay. Matthay, a noted British pianist and composer, helped prepare Hess to launch her career as a soloist.

After studies with Matthay, Hess gave many successful performances as a young pianist, performing with conductors such as Willem Mengelberg and Thomas Beecham. After firmly establishing herself as a noted soloist in Europe, she toured constantly throughout Europe performing almost one hundred concerts a year.¹ She became similarly popular in the United States after her debut, which occurred in 1922, and in numerous concerts including more than a dozen at Carnegie Hall.

Known primarily for her performances of Classical period repertoire, Hess was a strong proponent of the works of Mozart, Beethoven, and Brahms. Hess did not like to make recordings and struggled to listen to herself play stating, “when I listen to myself play, I feel I am going to my own funeral.”² That said, there are a number of excellent performances and a few videos that survive of Hess’s live performances. Check out this recording of Myra Hess performing the first movement of Beethoven’s “Appassionata” Sonata.

One of Hess’s greatest achievements was her series of concerts that occurred during World War II. Performing in London’s National Gallery, Hess gave well over a hundred concerts while concert activity in London was halted due to the war. Her concerts were well attended and were inexpensive, allowing a large amount of people to afford to see her perform. The concerts were not just solo performances—Hess frequently performed chamber music in this setting, inviting other important British musicians to share the stage with her.

Myra Hess’s career further blossomed after the end of World War II. She gave notable performances of works of Mozart, Brahms, Beethoven, and more before her death in 1965. As we look back on Myra Hess’s life and career, it is her invaluable engagement in civic life as an artist during the twentieth century’s most chaotic and unsettled period and her spectacular recordings that make her a defining musical figure of the twentieth century. Learn more about Myra Hess and her London concerts during World War II in this Piano Magazine article by Elizabeth Lemme.

Sources

Bryce Morrison, “Hess, Dame Myra,” Grove Music Online, 2001, accessed 15 Nov. 2022, www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000012935.
Bryce Morrison, “Hess, Dame Myra,” Grove Music Online, 2001, accessed 15 Nov. 2022, www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000012935.

britannica.com/biography/Myra-Hess

nationalgallery.org.uk/about-us/history/the-myra-hess-concerts/myra-remembered

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Have at It, Kid! | Honoring Ed Turley

Written By Rebecca Mergen Pennington

We believe passionately that piano teachers change the world through their dedication to students and communities. Our Power of a Piano Teacher campaign shares personal tributes to document the extraordinary contributions of piano teachers. We welcome you to celebrate your teacher and share your tribute with us by making a donation to the Frances Clark Center via this form. Together, we will further amplify the meaningful work of our noble profession.

“Have at it, kid!” These words, accompanied by a grin from ear to ear, prefaced every performance in my weekly piano lessons with Dr. Ed Turley at The College of St. Benedict in St. Joseph, Minnesota.

I studied with the wonderful Dr. Turley from ages 10-18. He was outgoing, friendly, and gregarious. He always had a friendly smile and a warm handshake for me, and he made me feel that my lesson was the best place to be. I felt that I had his full attention for our hour together.

As a piano teacher myself, I now look back on those lessons and realize what an important foundation was presented to me week after week:

As a student whose ear was better than her reading ability, I sometimes had a tendency to learn notes incorrectly. Ed was always kind, but certainly insistent that I respect the printed music and correct any notes that were learned in error. He also taught me excellent fingering principles and prioritized technical study in my weekly practice and weekly lessons. In college and graduate school, I often encountered classmates who needed to completely rework their technique, but I didn’t need to—I give credit to Ed for this. Even now, when I look at my childhood music books and see his notes, I think to myself, “that is good, solid teaching.” And I was fortunate to receive it in every single lesson with Ed.

I also admire his choice of repertoire for me. As I entered college, I found I had played a significant amount of early-advanced standard repertoire, as I knew the Bach Inventions, Preludes and Fugues, Classical sonatas, Chopin Waltzes, Nocturnes, and Preludes, Debussy, Ravel, and so much more. This broad exposure to repertoire has served me well in teaching my own students. I thank Ed for this thorough planning of my curriculum of study.

…he made me feel that my lesson was the best place to be.

*Rebecca Pennington* *and her sister, Laura, perform*

I have some very distinct memories of when Ed connected my repertoire to music history and other elements of music. When I worked on the Bach Fugue in D Major I recall him showing me pictures of Louis XIV and the Palace of Versailles, excitedly telling me about the French Overture Style in Baroque music. Similarly, when I learned Debussy’s Clair de Lune, I remember him showing me many pictures of Monet’s paintings. Every time I teach the Sibelius Romance, I ask my students to think of it as an orchestral piece, imagining the cello in the opening—just as Ed told me.

Sadly, Ed Turley passed away this past October. I was shocked and saddened to hear of his passing. His memorial service was a powerful testimony to the generations of pianists Ed had impacted, as well as the changes he made in the community. It was clear that many had benefited from his deep love for music and his commitment to developing musicians. Each person who played or spoke had been touched by Ed’s enthusiasm and passion.

Ed, thank you for your commitment to excellence and all of the musical wisdom I have received from you. I miss you and will always remember our lessons.

Rebecca Mergen Pennington has been a member of the faculty of the New School for Music Study since 2007 and currently serves as the Administrative Director. She holds a DMA and MM in Piano Performance from the University of Kansas, and a BM in Music Education from Concordia College.

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This Week in Piano History: Birth of Jorge Bolet | November 15, 1914

Written By Curtis Pavey

This week, we celebrate the birth of Jorge Bolet, born on November 15, 1914 in Havana, Cuba. Bolet was a Cuban-American pianist whose impressive technical and expressive powers made him a champion of the music of Franz Liszt.

Bolet began his studies with his sister Maria. From a very early age, Bolet was captivated by music and recounted stories from his mother that he used to listen to his sister practice as a baby. By the age of ten, Bolet was comfortably performing advanced piano works, including selections from the Chopin Etudes. He later enrolled at the Curtis Institute of Music at the age of thirteen after a recommendation was sent on his behalf.

His studies at the Curtis Institute of Music were characterized by significant strides in his playing. While at Curtis, Bolet studied with American pianist David Saperton and frequently performed for Josef Hoffman. Bolet briefly paused his studies at Curtis to travel and perform in Europe. Upon returning to the United States, he took up conducting studies at the Curtis Institute of Music, studying with Fritz Reiner.

His career began after he won the first prize of the Naumburg International Piano Competition, and gave an important recital in New York’s Carnegie Hall. Despite this success, Bolet’s career took some time to develop; only in his later years was Bolet fully recognized for his pianistic prowess. Besides his active performing career, Bolet also taught students at both the Curtis Institute of Music and Indiana University where he served as a Professor of Music (Piano).

Bolet’s affinity for music of the Romantic composers, and especially Liszt, was the focus in his concert programs. New York Times critic Harold C. Schonberg described Bolet as “one of the great Liszt pianists of the century, with the fingers of Horowitz and the tone of a Lhévinne.”¹ On Decca’s record label, Bolet produced a number of recordings of Liszt’s piano music, which were reviewed with critical acclaim. Check out this recording of Bolet performing Liszt’s Hungarian Rhapsody No. 12 in C-sharp Minor at a recital performance at Indiana University.

Although Bolet bloomed late in his performance career, his impact on the musical world remains undeniable. His legacy as a performer and teacher continues to inspire the work of countless pianists around the world.

Sources

Gruen, John. ‘Where Have You Been, Bolet?’ New York Times. January 28, 1973. www.nytimes.com/1973/01/28/archives/where-have-you-been-bolet-where-were-you-bolet.html

Morrison, Bryce. “Bolet, Jorge.” Grove Music Online. 2001; Accessed 31 Oct. 2022. www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000003445.

www.nytimes.com/1973/01/28/archives/where-have-you-been-bolet-where-were-you-bolet.html

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Thoughts on Healthy Musicianship: Special Guest Q&A with Carla Salas-Ruiz

Written By Carla Salas-Ruiz

This week we invited our followers to submit questions for Carla Salas-Ruiz about healthy musicianship. Today, Carla is answering those questions in advance of our facilitated discussion event next week (Thursday, November 17 at 11am ET) that will focus on Carla’s article in the Autumn 2022 issue of Piano Magazine, My Journey to Healthy Musicianship: Practical Ideas for Exploration and Self-Reflection in the Piano Studio.

We encourage you to join us for this lively, interactive discussion event. You can RSVP by clicking here.

Join us on social media for the opportunity to have your questions on a variety of interesting topics answered by additional experts in the coming weeks.

I feel silly to ask, but what is “healthy musicianship” exactly?

It is not a silly question at all! It is not common to find the concept of “healthy musicianship” in research literature. Some authors use it as an umbrella term referring to injury prevention and general physical and/or emotional wellness from a holistic standpoint. Usually, research literature focuses on how teachers can instill habits of healthy physical technique in their students. Additionally, some scholars concentrate on how music teachers might improve their students’ mental health, which could encompass stress, burnout, and performance anxiety.

How did you first become interested in healthy musicianship?

I first became aware of healthy musicianship in one of my classes in college. Here was a topic that finally put my thoughts into words. It helped me understand my journey! I began a research study on preservice music teachers’ perspectives on healthy musicianship with my colleagues, and then, for my doctoral examination, I wrote an essay on healthy musicianship practices in the piano studio. Preparing that paper helped me to further understand my journey and provided me with more tools to effectively support my students’ journeys.

What would you say to a teacher who has never thought about intentionally incorporating healthy musicianship before? Where do I start?

Start by revisiting your teaching philosophy and studio policies, and question all the why’s behind them. Then, I would suggest exploring these books: The Mindful Musician by Vanessa Cornett, The Perfect Wrong Note by William Westney, Teaching the Whole Musician by Paola Savvidou, and Teaching Healthy Musicianship: The Music Educator’s Guide to Injury Prevention and Wellness. Finally, spend some time thinking about what healthy musicianship means to you and how it looks in your piano studio: studio policy, physical space, technique, and performance.

What aspects of your teaching do you feel shifted the most after your harrowing recital experience?

The biggest thing for me was related to my awareness of students’ technical, physical, and emotional needs. After understanding those needs, I am better equipped to react with effective instructional methods. I needed training on piano pedagogy and piano performance to address my students’ needs with professionalism. I want to support my students to the best of my capabilities, so I committed myself to improve my playing as well to offer a diverse set of strategies for them to feel comfortable when playing, both physically and emotionally.

What would you say to a college student in the same position? How would you encourage them to push forward and not give up a career in music?

I would encourage this student to remember why they chose to pursue a career in music and to keep those reasons close to their heart and mind. Experiencing failure is a key part of the learning process. Encourage this student to use failure as an opportunity to explore their passion for music and examine some strategies that would advance that passion. Connect with friends and music teachers who will listen and offer advice without judgment or criticism. Then, consider therapy to elevate a sense of wellness. Practically, making a list of your musical and personal needs can help in making an actionable plan.

How do you advise teachers to approach their students after a poor performance?

Our students need us to be supportive. They will likely be very vulnerable, and our reactions will impact them for life. We can meet the student to carefully listen to their thoughts, analyze the situation together, and create a plan to move forward. Finally, I think it is important to discuss the experience of “failure” and how important its role is in the learning process.

Are there specific activities you recommend, or is healthy musicianship more of a philosophy or perspective?

This is a great question! It is a combination of both. To intentionally include healthy musicianship in our piano studio, we need to make it a priority in order to put it into action. Therefore, it is key to first reflect on what healthy musicianship means for us, engage in the literature, and then create activities that truly represent those beliefs.

How do you consider teaching healthy musicianship to be different than applying it to personal practice and performance?

I think that they are closely related to and will influence each other. I would encourage anyone to think about what healthy musicianship means to you and how it looks in your personal practice and performance. Then, consider how those practices influence your teaching.

What are your favorite ways to incorporate healthy musicianship from the first lesson?

I remain very attentive to what the students bring to the first lesson; the physical, cognitive, and emotional aspects. During the first lesson, I listen carefully to what their expectations are regarding piano and create a plan that helps us both to meet those expectations. I also openly use the concept of healthy musicianship as soon as I can. I engage in modeling and discussing the why’s behind each technical and musical adjustment, practice strategy, or physical gesture.

How do I know I’m teaching my students to practice healthy musicianship? At some point is it too late?

It is NEVER too late! I am a great example of this! My undergraduate years were not the healthiest years of my life, but now I have had fantastic mentors who have helped me explore healthy musicianship practices that work for me and for my technical needs. If your students seem physically and emotionally comfortable when playing and retain their love of music and playing, you’ll know that you are teaching them healthy musicianship practices. Your students will understand why addressing and exploring gestures is key to conveying a beautiful musical message. They will be happy and willing to take risks with you, and their curiosity for learning will gradually increase.

Don’t forget! RSVP for next week’s discussion event on healthy musicianship by clicking here.

Carla Salas-Ruiz is originally from Costa Rica. She is a PhD candidate in Music Education with emphasis in Piano Pedagogy at Louisiana State University. In 2021, Carla was awarded LSU Alumni Graduate Teaching Assistant of the Year. Her research interests focus on healthy musicianship and interest development among intermediate pianists.

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Reflections on My Piano Teacher | Honoring Fern Davidson

Written By Marvin Blickenstaff

We at the Frances Clark Center believe passionately that piano teachers change the world through their dedication to students and communities. Our Power of a Piano Teacher campaign shares personal tributes to document the extraordinary contributions of piano teachers. We welcome you to celebrate your teacher and share your tribute with us by making a donation to the Frances Clark Center via this form. Together, we will further amplify the meaningful work of our noble profession.

Were it not for lessons with Fern, I would be a dentist.

Let me explain.

Following in the footsteps of my two older brothers, I started piano lessons at age six. Also following in those footsteps, I thought it was time to discontinue lessons once I reached the seventh grade. So as a seventh grader, I announced to my mother that it was time for me to stop lessons. Somewhat surprised, she asked “Why would you want to stop lessons? You have such a good start and are already playing quite advanced literature.” I responded with the fact that I felt bored. She thought a bit and said “I think I know how to solve that. I’ll call Fern.” Fern Davidson was the most respected piano teacher in our area, perhaps even in the entire state of Idaho. Studying with Fern meant commitment—regular practice, serious intent, and dedication to fulfilling assignments to the best of one’s ability. My mother contacted Fern, and she agreed to find a place for me in her schedule.

Lessons began. They were exciting and filled with new insights on how to practice, how to read a score accurately, and technical wisdom. After about three lessons I was hooked—for life! I would be a pianist.

I continued lessons with Fern throughout my junior and senior high school years. We did the auditions of the National Guild of Piano Teachers and other regional competitions. (The Idaho Music Teachers Association did not exist in those early years.) These were stimulating goals for me and were successful. Fern knew the piano literature well and we covered an amazing amount of repertoire, both solo and concerti. She had another student my age with whom I played duo piano repertoire—a lot of it. In fact, during our high school years we would each prepare a solo recital and also a duo piano recital.

Let me share one anecdote that has had a lasting impact on me. In junior high, students of Fern would frequently chat about our lessons and compare repertoire assignments, upcoming auditions, etc. One day Marilyn shocked me when she confessed that she always tried to arrive a bit late for her lessons. I could not imagine anyone purposely arriving late for a lesson with Fern. When I questioned Marilyn why she would do such a thing, she replied “Because I know that if I arrive a bit late, Fern will be practicing, and I love to hear Fern play the piano.” To this day, I always try to be at the piano practicing when a student arrives for a lesson.

After about three lessons I was hooked—for life! I would be a pianist.

Some of my favorite time with Fern was traveling to competitions. One time it was a train ride to a distant Idaho town. Other times I would drive her large Cadillac to an audition or competition. She was great company, and we had a wonderful relationship which continued through the years that I was in college, studying abroad, and teaching on the collegiate level.

Fern organized the local piano teachers into what she called the Idaho Eight Piano Symphony. She selected the music, mostly duo piano literature, and the teachers rehearsed in a local piano store. For the concert, the piano dealer brought in eight grand pianos and arranged them in a horse-shoe shape on the floor of the local junior high school gymnasium. Fern stood on a podium and directed the ensemble. Occasionally some of us more advanced students were allowed to join the ensemble. Fern had found an arrangement of the overture to the Rossini opera Semiramide by Percy Grainger for eight pianos. If ever there was a “show-stopper,” this certainly fit the bill. It was the traditional finale of the program and truly brought down the house.

Everyone gives testimony to the lasting impact that lessons with Fern had on their lives.

Fern lived to be 100 years old. On that momentous occasion, her former students arranged for a weekend of celebration which involved a festive luncheon and a public concert. Her birthday fell on Labor Day weekend, and we feared that many people would be out of town for the last holiday weekend of the summer. The concert was scheduled for the auditorium of a local college, and there was considerable newspaper publicity featuring Fern and advertising the concert. Much to our surprise, the auditorium was filled to capacity. That event featured solo performances and ensembles performed by her former students, and ended with that eight-piano-sixteen-players arrangement by Percy Grainger. When the cheers died down Fern was called to the microphone to speak a few words. She thanked everyone for coming and invited the audience to her house for a reception the next day! (Nine hundred people!) The reception did take place and many of the performers were there to continue the 100^th birthday celebration. Safe to say, the nine hundred did not show up!

Many of Fern’s former students have become prominent piano teachers and church musicians, most of whom live in the state of Idaho. Everyone gives testimony to the lasting impact that lessons with Fern had on their lives. I have recently completed a book for piano teachers, and that book is dedicated to her memory.

Marvin Blickenstaff joined The New School in 1999, and serves as co-director of the PEPS Program. Blickenstaff holds degrees from the Oberlin Conservatory of Music and Indiana University, where he received both academic and performance honors. He is well-known across the country and in Canada for his frequent presentations at state and national conferences.

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This Week in Piano History: Happy World Piano Day!

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we are celebrating World Piano Day and the accomplishments of all pianists!

The piano was invented over three hundred years ago by Bartolomeo Cristofori, an Italian builder. His ingenious design from 1700 used hammers inside the action of a harpsichord to create a wider dynamic range. Cristofori’s instrument ignited the interest of keyboard makers throughout Europe including Gottfried Silbermann who created a similar model that eventually got the approval of Johann Sebastian Bach. Although today’s piano is quite different from its prototype, the legacy of Cristofori’s invention is undeniable.

In celebration of the many pianists who have brought inspiration and joy to the world since the inception of the instrument, today we are highlighting several pianists who have been featured in Piano Magazine over the years. We hope you enjoy reading about these excellent musicians and hearing their thoughtful music making.

Martha Agerich on Respect and Love for the Music

According to many pianists of today, Martha Argerich is frequently cited as the greatest living pianist. Originally from Argentina, Argerich began studying piano at an early age with Vincenzo Scaramuzza and later Friedrich Gulda, Stefan Askenase, and Maria Curcio. She rose to prominence in her adolescent years after capturing the top prizes at both the Chopin and the Busoni International Piano Competitions at the age of 16. Known especially for her performances of Chopin, Ravel, Liszt, and Prokofiev, Argerich has toured around the world and has performed with every major orchestra.

In 2015, Argerich sat down with Leonne Lewis for an interview with Piano Magazine in which she recounted her experiences with her teacher Friedrich Gulda, her thoughts on piano teaching, the importance of exploring different styles, and more. You can read it here.

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Gabriela Montero on Improvisation and Advocacy

Hailing from Venezuela, Gabriela Montero, described by Argerich as “a wonderful pianist and improviser,” is known for her creative performances mixing both classical repertoire and her improvised reactions. After winning the third prize in the Chopin International Piano Competition in 1995, her performing career took off. Besides her work as an artist, Montero is committed to ensuring human rights around the world and was named an Honorary Consul by Amnesty International in 2015. In an interview with Piano Magazine, Montero described her experience with improvisation as a personal practice until she was encouraged to share it with the world by Martha Argerich.

In the interview, she states that improvisation “has become more and more a tool of storytelling, and reporting what’s going on in the world, and issues that I want to speak about. It has always been there. It’s the first thing I do when I sit down at the piano to say hello.” You can read more about Montero’s thoughts about her musical upbringing and her exciting concert schedule in the interview, accessible here.

Spencer Myer on Unique Practice Methods

Spencer Myer, is an active recitalist and performer around the world. Myer, who studied at the Oberlin Conservatory of Music, The Juilliard School, and Stony Brook University, launched his career after winning the 2006 Christel DeHaan Classical Fellowship from the American Pianist Association and the 2008 New Orleans International Piano Competition. He was recently appointed Associate Professor of Music (Piano) at Indiana University’s Jacobs School of Music In 2019, Myer presented a workshop on practicing at the National Conference on Keyboard Pedagogy (now NCKP: The Piano Conference).

In an interview with Barbara Fast, Myer told Piano Magazine (formerly Clavier Companion) that his interest in unique practice methods began while preparing for international piano competitions. One of his unique practice methods to secure memory involves occasionally lifting one’s hands from the piano keyboard while playing and “mentally continuing to play.” Myer’s practice methods and tips for developing pianists are discussed fully in this article.

Sean Chen on The Role of Piano Teachers

Another winner of the Christel DeHaan Classical Fellowship from the American Pianists Association, Sean Chen, was catapulted onto the world’s stage after his third prize win at the 2013 Van Cliburn International Piano Competition. A graduate of The Juilliard School and Yale University, Chen is a Steinway Artist. In addition to his performance career, Chen is also passionate about computers, math, and science.

Chen describes his musical upbringing along with his decision to enroll in Juilliard over Harvard and more in this interview with Piano Magazine (formerly Clavier Companion).

Sources

O’Brien, Michael. “Cristofori, Bartolomeo.” Grove Music Online. 2001; Accessed 31 Oct. 2022. https://www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000006835.

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Tips for Rote Teaching: Special Guest Q&A with Expert E.L. Lancaster

Written By E.L. Lancaster

Last year we invited our followers to submit questions for E.L. Lancaster about rote teaching to celebrate he and Kevin Olson’s new publication, From Rote to Note: Elementary Piano Pieces That Reinforce Theory and Technique. We are pleased to give these newly updated answers a permanent home on our Discovery page. We invite you to join us on social media for the opportunity to have your questions on a variety of interesting topics answered by additional experts in the coming weeks. Finally, we’d like to extend our gratitude to E.L. for his valuable contributions. Click here to learn more about From Rote to Note and to purchase your own copy!

How did you first become interested in rote teaching?

I was introduced to rote teaching as a master’s student at the University of Illinois. I immediately saw its benefits in terms of technical development, musical understanding, and motivation. Consequently, I started using it with both my young students in private lessons and with my college piano classes.

Is rote teaching just for beginning students?

Rote teaching is NOT just for beginning students. It can be used with any level depending on what the teaching goal is for the student. For example, developing a rote musical map for an advanced student who is having difficulty memorizing a section of repertoire is one example of using rote learning with a student beyond the beginning level. It can also be used to reinforce theoretical concepts or to allow students to focus on motions required for technique (as opposed to just reading a piece to develop technique).

Is your recent publication From Rote to Note primarily for pre-reading students, or can it also be used with students who are fluent in music reading?

From Rote to Note can be used with students who are fluent in music reading. The musical maps for many of the pieces require students to recognize and apply theoretical concepts to the keyboard. It also lays the foundation for analyzing music form.

What are some tips on helping students remember the piece when teaching by rote?

The best way to help students remember a rote piece is to supply a musical map whether it is one from From Rote to Note, one that you create for the student, or one that you and the student create together.

Do you have a favorite counting system to use when teaching rote pieces?

I do not have a favorite counting system to use when teaching rote pieces. Teachers should use the same counting system that is used with pieces learned from musical notation. I use the note value system for counting (1 1 1 1 for four quarter notes) before students learn time signatures. After they learn time signatures, I use the measure system for counting (1 2 3 4 for four quarter in 4/4 time).

I have a student who loves learning by rote/ear so much they don’t want to read music. Help!

Continue to use rote learning with the student, but not to teach them reading pieces—only to help them with identifying patterns, technical development, and memorization. For those types of students, I develop a true system of learning to read music that includes flashcards (and apps that function as flashcards), note spellers, assigning a very short reading piece for each day of practice, and incorporating a reading activity in every lesson. If lack of reading skills decreases motivation, alternate teaching a new repertoire piece by rote with teaching a new repertoire piece from reading.

What would you say to a teacher who is totally new to rote teaching?

Explore the various types of rote teaching by looking online for videos of rote teaching. Some rote teaching is only done through the ear (with no visual reinforcement). Other types of rote teaching (like From Rote to Note) supports rote teaching with a visual aid (musical map). In private lessons, approach rote teaching based on the student’s needs relating to note reading, technical development, and musical understanding. Determine the exact purpose of each rote piece before teaching it. Is it a replacement for learning a piece by reading (motivation)? Is it for developing the ear? Is it to improve technical skills? Is it to aid with analysis and musical understanding? Is it a way to introduce a new concept? Is it a way to encourage creativity (having students compose an original piece and writing it as a musical map instead of notation is a good example of this)?

What are the benefits of rote teaching?

In addition to the benefits listed in the previous question (technical development, musical understanding, and motivation), rote teaching helps with ear training, memory, pattern recognition, and creative exploration. It also allows students to experience musical ideas before encountering the symbols for these concepts (sound to symbol) and helps them apply listening skills to focus on artistically bringing out musical character.

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From Financial Officer to Piano Teacher | Honoring Sandra Preysz and Lenora Brown

Written By Heather Smith

If it weren’t for two piano teachers, I would still be working as a corporate financial officer.

One teacher introduced me to music and planted seeds that eventually yielded the fruit of a deep love for music. The second teacher accepted me as a mature student who hadn’t studied music in nearly two decades. She encouraged and guided me to the completion of my postgraduate musical studies.

As a painfully shy, eight-year-old girl, I avoided drawing attention to myself at all costs. This started to change when I had the opportunity to study piano with Sandra Preysz in Salt Lake City, Utah. In school and family situations I was often too timid to speak. Sandra opened the doors for me to positively express myself through music. As my abilities to understand and perform music grew, so did my confidence. Sandra was the person who introduced a world of possibilities to me.

At times, my formative years were challenging. But weekly lessons with Sandra were a respite from the pressures of the world. She was a trusted adult who cared not only about my musical development, but also about what was going on in my personal life. Sandra genuinely cared about me as a person, yet still held me to a high standard as a pianist. She saw the potential in me that I couldn’t even see in myself.

Studying piano with Sandra filled my life with meaning and joy. Some of my greatest memories include: having a healthy competition with Sandra’s daughter over who could earn the most stickers on the studio practice chart; playing in Christmas recitals at the public library; participating in music festivals; being honored to attend the Utah Symphony with Sandra and a few of her students.

Sandra’s influence extended well beyond my formative years. As an adult, I earned a degree in accounting and worked as a financial officer for several years. During this time, I found myself at a crossroads, questioning my career choice. I met with a guidance counselor who asked me what brought me the most joy as a young girl. My thoughts immediately turned to fond memories of taking piano lessons with Sandra. With more reflection, I came to know that the thing I most wanted to do was to follow in Sandra’s footsteps and make a meaningful impact in young children’s lives, just like she did in mine. Because of her influence, I went back to college to pursue a career as a piano teacher.

Sandra genuinely cared about me as a person, yet still held me to a high standard as a pianist.

*Announcement of the MTNA Sandra Preysz Endowment Fund at the Utah Music Teachers Association board meeting in 2018. Pictured left to right: Heather Smith, Sandra Preysz, Laszlo Preysz, Monika Preysz*

*Lenora Brown and Heather Smith celebrating the completion of Heather’s final graduate piano recital at the University of Utah.*

Moving from the corporate world back to the classroom was a challenge, but because of. . . Lenora, I would do it again in a heartbeat.

That season is when I first auditioned with Professor Lenora Brown at the University of Utah. Lenora was a highly sought-after instructor who had a studio full of promising piano performance majors, and she really took a chance on me. Studying with her changed my life for the better in profound ways. It was also one of the hardest things I have ever done in my life.

In my first lesson with Lenora, she taught me an important life principle. She said that it is important to put on blinders when studying music. She said there will always be others that will memorize music faster, and seem to have it all together as they perform on stage. Lenora taught me that this can be a dangerous distraction. She told me that she never compared her students with one another and she didn’t want me to make the mistake of comparing myself to others either. Lenora worked diligently to help guide and transform me into the best musician I could become.

As a concert pianist, recording artist, arranger, composer, and Professor of Music, Lenora’s life-long dedication to her students and her profession is noteworthy. She freely imparted her knowledge and interpretation of music to each of her students. As I teach my own students, I often hear her voice and metaphors come to my mind as I guide my students to deeper understanding and better expression through music.

Moving from the corporate world back to the classroom was a challenge, but because of the opportunity to study with Lenora, I would do it again in a heartbeat. Her encouragement, kind instruction, and example inspired me to keep going. When I struggled to fit it all in and questioned my abilities, she was there to lift me up. When I had successes, she was my greatest cheerleader. She opened her heart and her home not only to me, but to every one of her students.

Studying under two inspiring piano teachers was a gift that enriched and shaped my life for good. I will be forever grateful for their examples and what they taught me through their love of music.

Heather Smith maintains a multi-faceted career as an educator, administrator, music examiner, and community arts advocate. She is the co-creator of The Frances Clark Center’s online course, A Pianist’s Guide to Studio Management. Heather holds advanced degrees in music and business and enjoys supporting communities through music fundraising initiatives.

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The Power of a Piano Teacher

Written By Jennifer Snow

Teaching is probably the noblest profession in the world — the most unselfish, difficult, and honorable profession.
Leonard Bernstein

We at the Frances Clark Center believe passionately that piano teachers change the world through their dedication to their students and communities. With the launch of our Power of a Piano Teacher campaign, we will be sharing personal tributes that celebrate the extraordinary contributions of piano teachers from communities large and small, villages to sprawling urban centers, and from countries across the world. We want to raise the appreciation, understanding, and recognition of these dedicated community leaders who change lives through music. These inspirational, personal stories will amplify the impact that piano teachers have on their communities in countless ways for generations.

Almost sixty years ago in 1963, Leonard Bernstein broadcasted, as part of the Young People’s Concert series, his tribute to teachers with a powerful opening statement:

My dear young friends: You may think it strange that I have chosen to open this new season with the subject of teachers. After all, aren’t these programs always about music? And what have teachers got to do with music? The answer is: everything. We can all think of a self-taught painter or writer, but it is almost impossible to imagine a professional musician who doesn’t owe something to one teacher or another. The trouble is that we don’t always realize how important teachers are, in music or in anything else. Teaching is probably the noblest profession in the world — the most unselfish, difficult, and honorable profession. It is also the most unappreciated, underrated, underpaid, and underpraised profession in the world.

Tribute to Teachers, *Written by Leonard Bernstein*
*Original CBS Television Network Broadcast Date: 29 November 1963*

One of the most inspiring teacher tributes I have ever experienced was at the 2019 National Conference for Keyboard Pedagogy (NCKP 2019). Bryann Burgess shared passionately the profound impact her teacher Dr. Scott Price has had on her life, not only as a musician, but as a person. We are launching this inspiring tribute series with Bryann’s video and transcription, included below. We look forward to sharing these inspirational stories and celebrating our piano heroes who are working every day to make the world more kind, inclusive, and connected through the transformational power of music. We welcome you to celebrate your teacher and share your tribute with us by donating via this form. Together, we will further amplify the meaningful work of our noble profession.

Bryann Burgess, NCKP 2019

Video Transcript

Thank you, and good afternoon. My name is Bryann Burgess, and I am very excited to be here at this National Conference on Keyboard Pedagogy. It’s especially meaningful to me as a person with Down syndrome to be giving a presentation here in the Land of Lincoln and his Gettysburg address. He spoke of our country, being conceived in liberty and dedicated to the proposition that all are created equal. I continue to advocate for those principles today. IQ scores, disability diagnosis, and labels should never determine a person’s potential and right to pursue and enjoy the things that they love.

As my professor at the University of South Carolina, Dr. Scott Price says, music does not discriminate, and neither should we. He had told me he was willing to teach me if I was willing to work hard, and work hard I did, because I knew how much he believed in me. And I didn’t want to let him down. His expectations were high. And he always challenged me to do my best. He taught me to perform for recitals, play for a piano juries in front of other piano professors, and asked me to speak to his doctoral student classes about teaching students with unique abilities. And I was thrilled and honored to play a duet by Martha Meir, with Scott for my senior recital, part of which you’ll see shortly in the video.

As Helen Keller once said, “The best and most beautiful things in the world cannot be seen or even touched. It must be felt from the heart.” I want to thank all of the teachers who are here today for making such a difference in your students’ lives. I especially want to thank the teachers in my life, who look past Down syndrome, and labels of intellectual and developmental disabilities. They looked with their hearts at my possibilities. They focus on expectations and not limitations. They challenged me and gave me a sense of pride, accomplishment, and self confidence, because I worked hard to meet those challenges. I am forever grateful that they believed in me, helped me to set goals and allowed me to live my dream.

You can view the entirety of Bryann’s speech here.

Dr. Jennifer Snow is an internationally recognized executive, artist, educator, and thought leader. She leads all divisions of the Frances Clark Center: Piano Magazine, NCKP: The Piano Conference, New School for Music Study, Piano Education Press, International Teacher Education, Piano Inspires, and Piano Stories on Stage concert series. Passionate about the transformative power of the arts, Jennifer is dedicated to serving and advancing the mission of the Center.

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5 Things You Might Not Know About Zoltán Kodály

Written By Megan Hall

Don’t miss Megan’s Inspiring Artistry contribution about J.S. Bach’s Invention in C Minor, which includes exposition on how to effectively teach the piece, all the way from preparation to performance.

1. Kodály wrote for piano and organ!

Besides his many successful works for choir, Kodály wrote 7 Pieces for Piano, Op. 11, a Méditation sur un motif de Claude Debussy for solo piano, and several works for the organ such as Organoedia, a complete mass for solo organ. The 7 Pieces for Piano use a variety of scales and time signatures; No. IV is an arrangement of a popular Szekely folk song. The Szekely people are Hungarians who are somewhat isolated by mountain ranges, so it is likely that Kodály learned this song while on his travels with Béla Bartók. Together, these two ethnomusicologists embarked on a mission to learn and record the many folk songs of Hungary.

2. Kodály did not invent solfa hand signs.

Contrary to popular belief, the hand signs used to show degrees of solfège were not invented by Kodály, but by Sarah Ann Glover, an English music teacher in the 1800s, and popularized by John Curwen. These kinesthetic learning tools use a different hand symbol for each degree of solfège, and help students internalize the relationships and distances between pitches.

3. Kodály wrote a book with over three hundred solfege singing exercises in it!

The 333 Elementary Exercises are short, bite-size examples that are ideal for teaching sight-singing. The first examples in the book use only do and re, while the latest examples use extended pentatonic scales. Each section begins with simple rhythms (mostly quarter notes) and then expands into more difficult rhythms such as dotted rhythms. Kodály educators often follow these sequences in their classrooms, starting with simple songs that use only quarter notes and only two different degrees of solfège, slowly building up to pentatonic scales. Because the use of fa and ti involve half-steps, they tend to be the most difficult for children to hear and sing, and are traditionally taught last.

4. Kodály was a Doctor of Philosophy.

He studied at the Liszt Academy as a young man but also earned degrees in Hungarian and German and a doctorate in linguistics, all from the University of Hungary. Now there are many universities across the world that offer degrees in Music Education with a Kodály emphasis! Many colleges and universities in the United States also offer summer Kodály training programs—these programs are geared toward teachers of elementary music but are excellent for teachers and students in all musical areas.

5. Kodály’s statue faces the site of a former children’s playground.

His love of children and passion for music education prompted the city of Pécs, Hungary, to erect a statue facing a childrens’ playground so that he can forever oversee the children playing. This statue shows Kodály in his later years, thin and somewhat frail, but still deeply caring for the children of his country.

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PIANO MAGAZINE: A Philosophy of Piano Pedagogy by Frances Clark

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Sources

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A Peek Inside Piano Inspires Discussion Events: Opportunities to Learn, Discuss, and Connect

Written By Andrea McAlister

We were pleased to welcome Dr. Brenda Wristen, Professor of Piano and Piano Pedagogy at the University of Nebraska-Lincoln and author of the Piano Magazine article “No Thumb or Fifth Finger on Black Keys, Except…” for an informative article discussion in September.

Dr. Wristen and Senior Editor Craig Sale explored the rules of the black keys, when the rules should be broken, and how to navigate playing fingers 1 and 5 on the black keys in a technically efficient and healthy manner. After an inspiring conversation with Brenda and Craig, we moved into small breakout rooms to discuss the topic with them both and other subscribers. It was a wonderful opportunity to explore our shared ideas on technical difficulties facing our students.

We welcome you to enjoy the short video excerpt below from this engaging session and encourage you to join us for our next subscriber discussion on October 27 at 11:00 am Eastern.

We will explore the music of Central and South America with Dr. Luis Sanchez and Ricardo de la Torre who will lead us in a conversation about repertoire by composers Manuel Ponce and Luis Gianneo. They will share excerpts from their Inspiring Artistry video modules and engage in discussion with attendees. Come ready to share, discover, and learn in this lively and educational event! Register here.

You can read Dr. Wristen’s full article here and in the print version of Piano Magazine Autumn 2022.

Video Transcription

Sale: . . .summarize this unwritten fingering rule about the thumb or the fifth finger on black keys, and maybe start with how that does serve a purpose, where did it ever come from? And then you might want to move into how that works and how it doesn’t work, and why it doesn’t work sometimes.

Wristen: Well, actually, it is a written rule. And it comes from Czerny, like many of our premises regarding fingering, in his second volume of theoretical and practical piano forte school, was published around 1839. Now, again, I’m not sure that so much his rule is a rule that had come into common practice. And, he was just codifying it and writing it down for the rest of us. But, he laid out three fundamental fingering premises at the beginning of that volume, one of which was the thumb and the little finger should never be placed on the black keys in playing the scales. The other two was that 234 and 5 needed to be used, that they couldn’t be passed over one another, and that the same finger should not be placed on two consecutive notes in case you’re interested.

But, with regard to the no thumb or fifth finger on black rule premise that he laid out, Czerny himself went on to suggest that there were many exceptions to the rule. In fact, to all three of the rules, I’m going to quote here, I wrote this down, he said, “Every passage which may be taken in several ways, should be played in that manner, which is the most suitable and natural to the case that occurs, and which is determined partly by adjacent notes, and partly by the style of execution.”

So I think a discerning reading of Czerny really demonstrates his flexibility in adapting a fingering choice based on a musical context. And this is a real life example, I have seen this. That is something that I have seen. And obviously, that is not a great fit for the hand. I think there’s also a utility in a progression like that were primary chord progression in closest position or cadences to simply learning the shape. And getting that in that hand fluently. So that is an instance where we would use thumbs and fives on black keys pretty much right away.

Now as to your question, Craig. Yes, that can be an issue navigating those shapes, particularly depending on hand size. So basically, the way we deal with those shorter fingers– if you notice what I did there in A major. You see what I’m doing slightly with my wrist, and my arm angle, it’s maybe not quite so visible there. Let’s do it in this octave [instead]. So I simply make sure that I’m getting my arm aligned, and I’m also moving up into the black key, that is going to involve my moving my arm forward, but that’s okay, because I have time to do it in the context of chord playing.

Sale: And Brenda, that example, particularly in your left hand in that key was is a beautiful visual of keeping the thumb in line with the arm, which I really appreciate seeing that, especially at that center part of the keyboard. This is essential to do if it was lower, you can be in on the keys further, as it is.

Wristen: And it is is radically different: the angles that we need to employ from one register to the next. You know, honestly, with my piano majors, that is one of the fundamental reasons I teach scales and arpeggios. Specifically, because we do four octave scales and arpeggios, it feels radically different from one octave to the next, the same key and I want to lead them to that discovery and lead them to that intuitive understanding. It’s not really intuitive because I asked guided questions about it to draw your attention to how the angles are working there between their finger and their arm.

Dr. Andrea McAlister serves as Director of Digital Programming for the Frances Clark Center and a Senior Editor for Piano Magazine. Dr. McAlister is Professor of Piano Pedagogy at Oberlin College and a member of the Yamaha Master Educator Collective.

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Alternatively-Sized Keyboards: Special Guest Q&A with Expert Carol Leone

Written By Carol Leone

Last year we invited you to submit questions for Carol Leone about alternatively sized keyboards via our social media channels. We are pleased to give these newly updated answers a permanent home on our Discovery page. We invite you to join us on social media for the opportunity to have your questions on a variety of interesting topics answered by additional experts in the coming weeks. Finally, we’d like to extend our gratitude to Carol for her valuable contributions. Click here to explore more PianoInspires content by Carol!

Carol Leone

Are there multiple different sizes of keyboards?

The conventional octave is 6.5 inches wide.

There are two standard alternate sizes in the Donison Steinbuhler Standard:

DS6.0 keyboard: octave width of 6 inches
DS5.5 keyboard: octave width of 5.5 inches

Additionally, other keyboard manufacturers have recently produced keyboards with an octave width of approximately 6.2 inches.

Do you get a different tone quality on alternate vs regular keyboards?

The size of the key has no bearing on the sound, since the hammers are exactly the same. Therefore the only mechanical effect on tone would be how one has each action’s hammers voiced. However, a person with a small handspan is able to produce a bigger tone using a narrower keyboard because they are able to deliver more force with their more compact hand.

What do you think about the possibility of teaching young beginners on alternatively sized keyboards and then switching over once they grow?

I think it’s ideal for a young student! I did this with the young pianist Aaron Kurz, now a graduate of the Yale School of Music. He studied with me on both the conventional and DS5.5 keyboard for several years starting at age 9, until his hands were almost fully grown. I believe that being able to play challenging repertoire at a young age was a key to Aaron’s phenomenal piano technique.

While I think I could benefit from an alternatively sized keyboard, I’m nervous about practicing on a smaller keyboard and then performing on a standard size since most performing venues only have regular pianos. What advice would you give?

My students and I find that it is relatively easy for us to go back and forth between the sizes on the spot, since some of us have our hands on both keyboards daily. It’s important to note that countless pianists have reported improvements in their playing on the conventional piano keyboard after practicing on a narrower keyboard.

That said, I generally practice specific repertoire on whichever size keyboard will be used in my upcoming performance.

Also, if you have a keyboard action made for a grand piano by Yamaha, you can travel with that action and place it in another Yamaha of a similar size and model, and it will fit well.

How long did it take you to adapt to playing on an alternatively sized piano?

On average it takes no more than 10–15 minutes to feel very comfortable on the DS6.0 and about 40 minutes for the DS5.5. Your brain will learn this flexibility and after that it will take virtually no time at all.

For the very quickest initial adjustment time, look at your hands when trying out the keyboards rather than looking at a score, and begin by playing octaves and large chords slowly.

I would love to see the piano community accept alternatively sized keyboards in a similar way that the string community expects students to begin with smaller instruments. How can we accomplish this? Is it awareness? Cost? Acceptance? Access?

Great questions! All of those answers are correct, especially access! The DS Standard Foundation is now lending actions with narrower keyboards to universities and conservatories world-wide at no cost (except shipping). You may contact me for more information.

For more on this important topic of acceptance, please see the Pianists for Alternatively Sized Piano Keyboards website.

Click here to sign the global petition to piano manufacturers.

How many companies make alternatively sized keyboards? Do you have a favorite manufacturer?

There are several manufacturers globally. All of our keyboards at SMU Meadows School of the Arts were manufactured by David Steinbuhler in Pennsylvania. DS Standard Foundation website.

Steinway will also now provide a special-order custom keyboard for particular models of their grand pianos, or they will retrofit your own Steinway.

Are there alternatively sized keyboards rather than pianos?

High-quality digital pianos with narrower keys are in development at the prototype stage from at least two manufacturers. Watch for them to be available to the general market very soon!

Do you know of any major performers who perform on alternatively sized pianos?

Joseph Hoffman and Daniel Barenboim both played on narrower keyboards in past concerts.

Additional Resources

Additional Piano Inspires content by Carol Leone
Carol Leone’s Youtube (all performances on alternative key sizes)
Additional articles by Carol Leone
PASK: Pianists for Alternatively Sized Piano Keyboards
DS Standard Foundation
Stretto Piano Festival
Video: “Increasing Performance Potential with Narrower Keys,” Carol Leone
Video: “Piano’s Darkest Secret,” Lionel Yu
Podcast episode: “Are Pianos Sexist?,” Caroline Creado Perez

Universities that Offer Alternative Keyboard Sizes

Australian National Academy of Music, Melbourne, Australia. DS6.0® in grand piano.
University of Central Oklahoma, Edmond, Oklahoma: DS6.0® keyboards in grand and upright pianos.
University of Memphis, Tennessee: DS6.0® keyboard in grand piano.
University of Music and Performing Arts, Stuttgart, Germany: DS6.0® keyboard in grand piano.
University of Nebraska-Lincoln, Lincoln, Nebraska: DS5.5® keyboards in grand piano.
University of North Texas, Denton, Texas: DS6.0® keyboards in upright and grand pianos.
Ohio University School of Music, Athens, Ohio: DS6.0® in grand piano, DS5.5 and DS6.0 keyboards in upright pianos.
Salem College, Winston-Salem, North Carolina: DS6.0® keyboards in grand and upright pianos.
San Diego State University, School of Music and Dance: DS6.0® keyboard in concert grand piano and DS6.0® keyboard in upright piano.
SMU Meadows School of the Arts, Dallas, Texas, DS5.5® keyboards in upright and grand pianos, and DS6.0® keyboards in grand pianos — eight alternatively-sized keyboards in all.
St Olaf College, Northfield, Minnesota: DS5.5® keyboards in grand piano.
Texas Tech University, Lubbock, Texas: DS5.5® keyboards in grand piano.
University of Wisconsin-Madison: DS5.5® and DS6.0® keyboards in grand pianos.

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This Week in Piano History: The Premiere of Mendelssohn’s G Minor Piano Concerto, October 17, 1831

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we celebrate the premiere of Felix Mendelssohn’s Piano Concerto in G Minor, Op. 25, premiered by the composer himself on October 17, 1831 in Munich. The concerto, made famous by Clara Schumann and Franz Liszt (and later ridiculed by Hector Berlioz!), became incredibly popular with pianists throughout Europe for its brilliant passagework.

The Background

The concerto is composed as a three-movement work, but all of the movements are connected together without breaks. Mendelssohn lifted the structure of this piece from Weber’s Konzertstück, which inspired many other compositions of the time, including Liszt’s famous Piano Sonata in B Minor. Many other works of the standard concerto repertoire include a similar linking of movements, including Beethoven’s last two piano concerti, both of which connect the middle and last movements together. Among the many technical challenges presented in this piece are its use of light passagework, octaves in both hands, arpeggios up and down the piano, and of course, playing beautiful, lyrical melodies.

Popularity and Criticism

The concerto was a success at the premiere, but Franz Liszt’s performance in Paris was what catapulted the piece into the repertoire of many great European pianists of the time. The piece became so popular that Hector Berlioz, who was not a fan of the piece, felt the need to criticize it publicly. After hearing the piece performed numerous times in Paris, Berlioz mocked the piece in a fictional story about an Erard piano. In the story, Berlioz remarked that the instrument had to be destroyed after it was used to perform the concerto too many times. Berlioz wrote:

“M. Erard arrives, but try as he will, the piano, which is out of its mind, has no intention of paying him any heed either. He sends for holy water and sprinkles the keyboard with it, but in vain—proof that it wasn’t witchcraft but merely the natural result of thirty performances of [Mendelssohn’s G minor] concerto. They take the keyboard out of the instrument—the keys are still moving up and down by themselves—and they throw it into the middle of the courtyard next to the warehouse. There M. Erard, now in a fury, has it chopped up with an axe [sic]. You think that did it? It made matters worse. Each piece danced, jumped, frisked about separately—on the pavement, between our legs, against the wall, in all directions, until the warehouse locksmith picked up this bedeviled mechanism in one armful and flung it in the fire of his forge, finally putting an end of it…Such a fine instrument!” – Hector Berlioz

The Music

The concerto begins with a foreboding orchestral introduction in G minor lasting just seven bars before being interrupted by the pianist with a fiery set of octaves and dazzlingly fast passagework. The stormy quality of the opening theme persists with surging scales and impressive virtuosity, which sets the stage for the tranquillo second theme in B-flat major. The second theme is lyrical yet unstable with surprising shifts in harmony. The remainder of the first movement contains extensive and challenging passagework for the performer, allowing them to fully demonstrate their virtuosic finger technique. Before the end of the first movement, the music takes a dramatic turn with a brass fanfare announcing a modulation to E minor and a piano interlude that leads directly to the middle movement.

The E major harmonies of the second movement seem otherworldly—a place of repose amidst the drama of the first and final movements. Here Mendelssohn’s brilliant lyrical style, made popular in his Songs Without Words, appears in full bloom with cascading scales and filigree decorating this expressive movement.

The final movement begins with brass repeating their fanfare from the first movement; this version, however, leads us to G major. The brilliant passagework of the final movement is seemingly endless, but Mendelssohn surprises the listener with a quote from the first movement—the second theme reappears before a final show of virtuosity from the pianist in the coda that ends this exciting concerto.

Check out this recording of Yuja Wang performing the concerto with the Verbier Festival Orchestra under the direction of Kurt Masur.