Piano Magazine

Breaking Stereotypes: Indigenous Composers Defining New Musical Frontiers

Written By Connor Chee

We would like to thank Connor Chee for this insightful article on Indigenous composers. To read the full article, click here. The Frances Clark Center is excited to share our latest publication: Weaving Sounds: Elementary Piano Pieces by Native and Indigenous Composers, compiled and edited by Connor Chee and Renata Yazzie. Learn more and get your copy today by clicking here.

Connor Chee.

The autumn 2024 Piano Magazine article, “Breaking Stereotypes,” explored the deeply ingrained misconceptions surrounding Indigenous music and how important it is to approach these traditions with an open mind. For many, Indigenous music conjures images of static, ancient traditions—locked in time and space, unchanged by modern influences. But this couldn’t be further from the truth. Indigenous music, like any art form, is dynamic, evolving, and as complex as the many cultures from which it originates.

Today, Indigenous composers are redefining what it means to create music, blending traditional elements with contemporary sounds, working across genres, and in some cases, pushing the boundaries of what music itself can be.

Here, a group of composers who are challenging the stereotypes surrounding Indigenous music are introduced. Each of them brings a unique perspective to the musical landscape, crafting works that defy simplistic categorization. The works of these seven composers are proof that Indigenous music is not confined to the past but is very much alive and thriving in the present. Their work speaks to the diversity of modern Indigenous music and serves as a reminder that Indigenous composers should be given the freedom to explore new ideas, without being pigeonholed by expectations.

Raven Chacon (Diné)

Perhaps no one epitomizes breaking musical barriers quite like Raven Chacon. In 2022, he became the first Native composer to win the Pulitzer Prize in music for his piece Voiceless Mass, a powerful and avant-garde work that challenges our understanding of what music is supposed to be. Chacon is known for his experimental approach, working across media such as noise music, chamber music, and visual art installations. His music does not always reference his Navajo heritage directly, but rather embodies the spirit of innovation and exploration that drives his work as a composer.

In Voiceless Mass, Chacon utilizes silence as a compositional tool, creating tension and unsettling spaces where the absence of sound carries as much weight as the sounds themselves. The piece, composed for organ and ensemble, explores ideas of representation and marginalization— who has a voice and who does not. Chacon’s music defies the notion that Indigenous composers must focus solely on traditional elements, offering instead a modern and avant-garde take on composition that breaks free from expectation.

"His [Chanon's] music does not always reference his Navajo heritage directly, but rather embodies the spirit of innovation and exploration that drives his work as a composer." - C. Chee

Jessica McMann/V. Jessica Sparvier-Wells (Cree)

Jessica McMann, who is in the process of reclaiming her birth name and will soon be known as Virginia Jessica Sparvier-Wells, is a composer and flutist whose work artfully merges classical music with Indigenous traditions. Her compositions and performances are deeply connected to land, Indigenous identity, history, and language, reflecting a rich engagement with her Cree heritage. She often weaves Cree language and cultural elements into her music, enriching her classical training with a distinct cultural voice. McMann’s creative practice extends beyond traditional composition, focusing on land-based creation, where the themes of connection, disconnection, and home emerge as central to her work. This approach emphasizes the powerful ties between music, place, and identity, as she explores the intersections between the personal and the cultural, grounding her soundscapes in both the physical and spiritual aspects of Indigenous life.

Her work is a reminder that Indigenous composers are not bound by one medium or cultural tradition. McMann’s compositions break away from the stereotype that Indigenous music exists in a vacuum, disconnected from Western classical music or contemporary soundscapes. Instead, she skillfully weaves her cultural heritage into her music, making it clear that these two worlds can coexist and enrich one another.

Jeremy Dutcher (Wolastoqiyik)

Jeremy Dutcher is an artist whose work defies easy classification. A classically trained tenor and performer, Dutcher’s album Wolastoqiyik Lintuwakonawa won the Polaris Music Prize for its blend of classical and Indigenous Wolastoqiyik music. He recorded the album after a research project on archival recordings of traditional Wolastoqiyik songs at the Canadian Museum of History, many of which are no longer being passed down to the tribe’s youth. What makes Dutcher’s work on this album particularly powerful is how it incorporates archival recordings of traditional Wolastoqiyik songs, reworking them into new, contemporary forms that include their traditional singing style.

By bringing the voices of his ancestors into the present, Dutcher’s music is a dialogue between the past and the future. His songs are a testament to the idea that Indigenous music is not static or locked in the past but is a living, evolving tradition. Dutcher shows that Indigenous musicians can both honor their heritage and innovate within it, creating music that is as forward-thinking as it is deeply rooted in cultural memory.

We hope you enjoyed this excerpt from Connor Chee’s article, “Breaking Stereotypes: Indigenous Composers Defining New Musical Frontiers.” Read the entire article by clicking here, and learn about Indigenous composers, including Beverley McKiver (Anishinaabe), Brent Michael Davids (Mohican/Munsee Lenape), Jerod Tate (Chickasaw), Dawn Avery (Mohawk), and Sonny-Ray Day Rider (Blackfoot).

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Our Experiences Writing for Piano Magazine

Written By Sarah Jenkins, Sarah Leonard

Every year, Piano Magazine offers students the opportunity to showcase their research and writing through the Collegiate Writing Contest. We are pleased to present the testimonies of two recent winners of this competition, in hopes that it will inspire other collegiate students to submit their manuscripts for a chance to be featured in Piano Magazine. The grand prize winner receives publication in an issue of Piano Magazine, and secondary prize winners receive publication on PianoInspires.com. This year, the contest runs until May 1, 2025. Learn more and submit an article here!

Sarah Jenkins, Winner of the 2020 Competition

Norwegian Folk Songs: Making Rhythmic Complexities Easy and Enjoyable, Autumn 2020

The date is April 27, 2020. I just turned in the final draft of my master’s thesis, and I am ready to call the semester over. It had been over a month since I left my apartment (and my cat) due to the pandemic. Then I received an email from my advisor along the lines of, “You should write an article and submit it for the Collegiate Writing Competition through Piano Magazine.” I’m sorry–what? The deadline was May 1, 2020. How was I supposed to write an article worthy of submission that close to the deadline while my brain (and soul) was recovering from finishing my master’s degree online? Well, if your advisor recommends that you do something, you do it. They know best…right?

So, I did it. I locked myself in my office and got to work. I might have become a little over zealous in the research stages of my thesis, so I certainly had plenty of content. I finally settled on a Norwegian folk song by Agathe Backer-Grøndahl. The hard part was trying to narrow the scope of my article. Why do other pianists and teachers need to know about this piece? What does it offer to students?

Let’s just say the first draft was definitely a rough draft. It was essentially a music theory paper. After some feedback from my advisor and one of my peers, I scratched the entire thing and started over. What made this piece special? Why did I choose it? Aha! The rhythms. I realized that Grøndahl used strong hand shapes and positions to allow students to focus on rhythmic complexities. Surprisingly, this version was the easiest to write. I found a topic interesting to me and beneficial to my students. That’s what this is about, right?

Throughout my adult life I have had conflicting feelings regarding generic inspirational quotes (i.e. “You’ll never know until you try…”). I always craved real and specific advice. Yes, I’ll never know until I try, but what do I gain from trying? What do I gain from failing? Why should I spend time and energy on something that might not benefit me? In this case, why should I put myself through the stress of writing (and rewriting) an article when all I want is my degree and a nap? The truth is simple: I did not know what I did not know until I tried. Read that again. I did not know what I did not know…until I tried. I learned where the deficits in my writing and my ability to talk about music were. I learned that I can write quickly when needed (and pushed). I learned that sometimes the greatest advice I can be given is to just try because I will discover the “why” myself.

So, my advice is just do it. Write an article and submit it. You’ll never know what you don’t know until you try. 

Sarah Leonard, Winner of the 2022 Competition

Dealing With Double Notes: Practical Solutions for Small-Handed Pianists, Autumn 2021

My master’s research centered around the underrepresented majority of pianists; those whose hands are considered small by late-Romantic standards. I was highly motivated to share what I had learned with the outside world, especially given how significantly it had helped me with my own teaching and playing, but I didn’t have a good way to do so outside of my school, LSU. Dr. Pamela Pike strongly recommended I take a portion of my research and turn it into an article for the Collegiate Writing Contest at Piano Magazine. Because I had spent several months writing about small-handed-piano technique, in both academic and lecture form, it was easy for me to quickly draft a 1,000-1,500 word essay.

I’m extremely thankful for my colleagues at LSU, who had heard me talk about my research throughout my entire project. Because they understood my thoughts and goals, they were able to help me revise my draft in a way that was approachable and fit the style of a Piano Magazine article. I might not have considered writing for a magazine if I hadn’t had that kind of support.

Submitting the article was a little scary because I had never done something like that before. However, I felt I had something to add to the conversation surrounding small hands, and I knew it would add authority to my CV and resumé for future job applications. Also, why not submit an article? I had done months of work and research. The worst thing that could’ve happened was that I’d have to try again in the future.

When I received the email that I had won the competition, it was so affirming! As a young person, I had never been recognized outside of my immediate circle of professors and colleagues. It gave me the confidence to present at the fall LMTA (Louisiana Music Teachers Association) conference, something else I had never done before. I look forward to continuing my academic journey, alongside my teaching career.

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Breaking Stereotypes: Indigenous Composers Defining New Musical Frontiers

Written By Connor Chee

We would like to thank Connor Chee for this insightful article on Indigenous composers. To read the full article, click here. The Frances Clark Center is excited to share our latest publication: Weaving Sounds: Elementary Piano Pieces by Native and Indigenous Composers, compiled and edited by Connor Chee and Renata Yazzie. Learn more and get your copy today by clicking here.

Connor Chee.

The autumn 2024 Piano Magazine article, “Breaking Stereotypes,” explored the deeply ingrained misconceptions surrounding Indigenous music and how important it is to approach these traditions with an open mind. For many, Indigenous music conjures images of static, ancient traditions—locked in time and space, unchanged by modern influences. But this couldn’t be further from the truth. Indigenous music, like any art form, is dynamic, evolving, and as complex as the many cultures from which it originates.

Today, Indigenous composers are redefining what it means to create music, blending traditional elements with contemporary sounds, working across genres, and in some cases, pushing the boundaries of what music itself can be.

Here, a group of composers who are challenging the stereotypes surrounding Indigenous music are introduced. Each of them brings a unique perspective to the musical landscape, crafting works that defy simplistic categorization. The works of these seven composers are proof that Indigenous music is not confined to the past but is very much alive and thriving in the present. Their work speaks to the diversity of modern Indigenous music and serves as a reminder that Indigenous composers should be given the freedom to explore new ideas, without being pigeonholed by expectations.

Raven Chacon (Diné)

Perhaps no one epitomizes breaking musical barriers quite like Raven Chacon. In 2022, he became the first Native composer to win the Pulitzer Prize in music for his piece Voiceless Mass, a powerful and avant-garde work that challenges our understanding of what music is supposed to be. Chacon is known for his experimental approach, working across media such as noise music, chamber music, and visual art installations. His music does not always reference his Navajo heritage directly, but rather embodies the spirit of innovation and exploration that drives his work as a composer.

In Voiceless Mass, Chacon utilizes silence as a compositional tool, creating tension and unsettling spaces where the absence of sound carries as much weight as the sounds themselves. The piece, composed for organ and ensemble, explores ideas of representation and marginalization— who has a voice and who does not. Chacon’s music defies the notion that Indigenous composers must focus solely on traditional elements, offering instead a modern and avant-garde take on composition that breaks free from expectation.

"His [Chanon's] music does not always reference his Navajo heritage directly, but rather embodies the spirit of innovation and exploration that drives his work as a composer." - C. Chee

Jessica McMann/V. Jessica Sparvier-Wells (Cree)

Jessica McMann, who is in the process of reclaiming her birth name and will soon be known as Virginia Jessica Sparvier-Wells, is a composer and flutist whose work artfully merges classical music with Indigenous traditions. Her compositions and performances are deeply connected to land, Indigenous identity, history, and language, reflecting a rich engagement with her Cree heritage. She often weaves Cree language and cultural elements into her music, enriching her classical training with a distinct cultural voice. McMann’s creative practice extends beyond traditional composition, focusing on land-based creation, where the themes of connection, disconnection, and home emerge as central to her work. This approach emphasizes the powerful ties between music, place, and identity, as she explores the intersections between the personal and the cultural, grounding her soundscapes in both the physical and spiritual aspects of Indigenous life.

Her work is a reminder that Indigenous composers are not bound by one medium or cultural tradition. McMann’s compositions break away from the stereotype that Indigenous music exists in a vacuum, disconnected from Western classical music or contemporary soundscapes. Instead, she skillfully weaves her cultural heritage into her music, making it clear that these two worlds can coexist and enrich one another.

Jeremy Dutcher (Wolastoqiyik)

Jeremy Dutcher is an artist whose work defies easy classification. A classically trained tenor and performer, Dutcher’s album Wolastoqiyik Lintuwakonawa won the Polaris Music Prize for its blend of classical and Indigenous Wolastoqiyik music. He recorded the album after a research project on archival recordings of traditional Wolastoqiyik songs at the Canadian Museum of History, many of which are no longer being passed down to the tribe’s youth. What makes Dutcher’s work on this album particularly powerful is how it incorporates archival recordings of traditional Wolastoqiyik songs, reworking them into new, contemporary forms that include their traditional singing style.

By bringing the voices of his ancestors into the present, Dutcher’s music is a dialogue between the past and the future. His songs are a testament to the idea that Indigenous music is not static or locked in the past but is a living, evolving tradition. Dutcher shows that Indigenous musicians can both honor their heritage and innovate within it, creating music that is as forward-thinking as it is deeply rooted in cultural memory.

We hope you enjoyed this excerpt from Connor Chee’s article, “Breaking Stereotypes: Indigenous Composers Defining New Musical Frontiers.” Read the entire article by clicking here, and learn about Indigenous composers, including Beverley McKiver (Anishinaabe), Brent Michael Davids (Mohican/Munsee Lenape), Jerod Tate (Chickasaw), Dawn Avery (Mohawk), and Sonny-Ray Day Rider (Blackfoot).

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Effective, enforceable piano studio policies

Written By Wendy Stevens

We would like to thank Wendy Stevens for this article about studio policies. To read the full article, click here. Between August 5 and September 15, The Frances Clark Center is offering 20% off all full-length courses such as A Pianist’s Guide to Studio Management. Check out our other courses here and use this discount code to get 20% of your order: BLOG20B2S.

Why do I need policies?

Constructing effective and enforceable policies is ultimately about preserving relationships with our piano families. By communicating our expectations formally, we are making space to concentrate on what is most important—teaching. It may feel a bit stiff to require that parents read and sign a contract, but clarifying expectations for both sides and procedures for resolving common situations is comforting and freeing for everyone. An effective, enforceable policy will ensure that our minds are free to teach creatively, parents and students have confidence in our plans, and everyone understands that common issues will be handled in a consistent and courteous manner.

Carefully thinking through how you want your business to look, where you want it to go, and how you want it to function will help you articulate clear policies that are effective and allow you to focus on teaching. To make them enforceable, ensure that the policies are read, signed, and dated by the responsible parent or adult. This gives you a legally binding document, and your business will appear more serious and professional

The key ingredients of effective, enforceable policies

A clear policy along with each family’s consent to your policy will help ensure that the business side of teaching piano runs smoothly.

A personal note. Because a contract with specific terms and conditions can seem stiff and formal, it’s important to include an introductory paragraph in your policy to kindly explain that the policies they are reading are meant to ensure that they will receive the most creative, energetic, and committed teaching from you!

Thank you for choosing me as your piano teacher! In order to ensure that you or your child get the most effective and creative teaching possible, I have established the following policies

Tuition structure, schedule, late fees. Briefly explain your tuition structure, basing it on a “yearly package” deal rather than a weekly lesson rate. It is also important to state exactly when you expect parents to pay and what will happen if payments are late.

Yearly tuition for 45 minute lessons is $xxx. Your tuition guarantees that I will be present to teach 40 weeks and will be divided into equal payments of $xxx. Tuition is due by the 10th of every month from September through May.* A $15 late fee will be assessed for late payments. 

Missed lessons. This is your “makeup” policy, but using the term “missed lessons” will subtly remind parents that they are choosing to miss a lesson and that their choice does not require you to give them an additional lesson time. We will address creative ways of dealing with missed lessons in a future article, but it’s important to give parents a few options in case they need to miss.

If a student misses a lesson, he or she will simply miss the benefit of that lesson. Remember that your tuition pays for far more than just lesson time with your child. You can also opt to use the swap list, Facetime, Skype, or simply call to chat about your child’s progress during the time that is reserved for your child.

If you have to miss a lesson, you can address how you will handle payments in the same email in which you inform them that there will be no lesson.

We hope you enjoyed this excerpt from Wendy Steven’s article “Effective, enforceable studio policies.” To read the entire article, click here.

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Does Piano Study Help Children in Other Aspects of School Study?

Written By Madeleine Crouch

We would like to thank Madeleine Crouch for this article about piano study and how it affects academic achievement. To read the full article, click here. Between August 5 and September 15, The Frances Clark Center is offering 20% off all full-length courses such as A Pianist’s Guide to Studio Management. Check out our other courses here and use this discount code to get 20% of your order: BLOG20B2S.

Did someone ever ask you, “How do you know that’s true? Did you read it somewhere … what proof do you have?” And you answered without hesitation, “I don’t know how, I just know it!” 

Piano teachers just know that studying music, especially the piano, is good for kids. We believe that piano lessons will help our students in their school lessons. We feel it in our bones that even the most reluctant student will, looking back on years of piano lessons, admit, “Sure I hated to practice, but my piano teacher taught me the self-discipline that made me the success I am today.” (Let’s not forget that an unabashed fan of music lessons now resides at 1600 Pennsylvania Avenue!)

In 1993, the National Piano Foundation funded a study, Teachers’, Parents’ and Students’ Perceptions of the Role of Piano Instruction in Students’ Lives. Administering the project was Robert Duke of the University of Texas at Austin. 

Approximately one hundred piano pedagogy faculty from across the United States identified individuals in their geographic regions with reputations as excellent piano teachers. 170 of these teachers provided lists of their students, including parents, willing to participate. From the list of 2,642 students Dr. Duke selected a random sample of 951, then classified them to obtain relatively equal numbers of students within ability levels scaled from 1 through 10 and age groups from 4 to 18. The final sample included 124 teachers and 663 students and their parents from thirty states. Each student, teacher, and parent completed extensive questionnaires related to the student’s piano study and life in general. Questions covered attitudes and achievement related to piano and school, participation in extracurricular activities, expectations, and goals. What follows are some of the more interesting results of this research.

Excerpts from the final report of the National Piano Foundation Research Project

Robert A. Duke, director

First, it’s important to realize that the majority of students whose parents can afford private music lessons in piano are students who have numerous life advantages. The students in our sample were, for the most part, the children of well-educated, affluent suburban and urban professionals. The small numbers of minority children and children from lower-income households that we found in our sample serve as a reminder of the many children who could benefit from piano instruction – or other forms of educational enrichment for that matter – but are not being served by this important aspect of music education. 

The fact that parents choose piano study as an activity worthy of their time and money, in addition to or instead of dance, sports, etc., supports the notion that parents view music study as an important, life-enhancing experience for their children. 

The children in our sample are generally “good kids,” that is, they do well in most endeavors in which they participate. What is interesting about the relationship of piano to other aspects of these children’s lives is that, irrespective of their ability as pianists, nearly all of these children, and their parents and teachers, believe that piano study is worthwhile, enjoyable and capable of producing benefits beyond the acquisition of music skills.

Many parents who studied music privately and participated in school music groups as children continue to participate as adults. Music-making becomes something of a “family tradition,” and perhaps it is not surprising that these parents choose to provide their children with educational opportunities similar to those they had as children. 

We hope you enjoyed this excerpt from Madeleine Crouch’s article “Does Piano Study Help Children in Other Aspects of School Study?” To read the entire article, click here.

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How Do You Plan A Student’s Repertoire for the Coming School Year?

Written By Martha Appleby, Sara Krohn, Leanne Stehle Hedges, Lyke, James

We would like to thank Martha Appleby, Sara Krohn, Leanne Hedges, and James B Lyke for this insightful article about planning repertoire. To read the full article, click here.

Although few teachers of my acquaintance indulge in a languid state of inactivity during the summer, it is a time when we re-evaluate the progress of our students during the previous school year and determine what changes to make in the fall. September is the teacher’s New Year with all the feelings of guilt and resolutions for change and, more importantly, the opportunity for change. 

How to transform these resolutions into plans and specific repertoire for individual students for the coming school year is the topic to be discussed by the following three experienced teachers. They are sharing with you not only ideas and specifics for this kind of planning, but their commitment to the pedagogical value of learning to assess students’ progress and assign repertoire accordingly. 

These words struck fear into my heart!

By Sara Krohn

The words “plan” and “for the year” certainly take a lot for granted, don’t they? These words struck fear into my heart! While staring at the question, I thought about the 16-year-old transfer student I started teaching this year, who after five years of study still needs many first-year fundamentals. My 8-year-old learning-disabled, hyperactive student came to mind. Then the precocious 12-year-old appeared, who after one year of study is playing Clementi sonatinas. What a challenge, to plan in the face of so many variables! A long-term plan—now that’s a challenge which requires time and thoughtful preparation.

I like to think that I manage my time effectively. I plan repertoire for over sixty students in group and individual lessons. Unless I still want to be planning this year’s repertoire next May, I need a system for assessing my students’ skills and assigning their repertoire. So I have created a checklist of essential skills for students at a given level, regardless of age. This gives me a good overview of individual students’ strengths and weaknesses, and helps me design their repertoire over the long term. 

I call it my “Checklist and Repertoire” for piano students. This is a form which lists all the skills I consider important for a student at a particular level. The idea is not new; schools have been using an “Individual Educational Plan” (known as an IEP) for years. 

The sample below is one part of the “Checklist and Repertoire”. There is a separate page for each of the following areas: 

  • Rhythm
  • Fundamentals/Music 
  • Theory/Composition 
  • Technique/Pedal 
  • Expression/Style 

After assessing the student’s level in each area, comments are written beside each of the skills listed. For example, I might write “no knowledge,” “needs my help to do,” or “can do by him/herself.” Space is left to list pieces or exercises which address the particular skill which I feel the student needs to improve. Based on the age and interests of the student, I assign pieces reflecting a variety of styles. 

Since no student fits exactly into any given level, each student’s “Checklist” includes earlier levels, as well as the level the student is “supposed” to be in. For example, my 15-year-old transfer student is in level three for most of her skills, but her knowledge of basic chords in level one is poor. By glancing at her “Checklist,” I can see that she missed certain fundamentals along the way, and can address them through appropriate repertoire. Without my “Checklist” I’m sure that I would forget a few areas. With my “Checklist” I know that I am meeting each student’s needs. 

We hope you enjoyed this excerpt from Martha Appleby, Sara Krohn, Leanne Stehle Hedges, and James B Lyke’s article about planning student repertoire. You can read the entire article by clicking here.

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Breaking Out of the House of Corrections

Written By Craig Sale

We would like to thank Craig Sale for this insightful article about preparing students for their practice. To read the full article, click here.

I will always remember Frances Clark stating that our lessons should not be a “house of corrections.” Instead, she felt we should do all we can to ensure a week of successful practice so that the student returns the next week prepared for more growth and learning. I hold fast to this approach to teaching and believe that a teacher’s greatest obligation is to adequately prepare the student for each new discovery, piece, or activity. However, at the next week’s lesson, improvements will need to be made. Reality shows us that, even with our best efforts, students often return to the next week’s lesson with issues that need resolving.

Rather than simply correct the student’s errors, how can a teacher provide helpful, impactful feedback? Frances Clark encouraged “an honest approach to evaluating them and their work.” She added, “If we say, ‘Okay!’, ‘good!’, or ‘great!’, indiscriminately, students never get a clear picture of where they stand. It is important to say clearly how they are improving and why, and what needs improving and how.”1 Even when we heed these words, we run the risk of turning the lesson into a litany of corrections.

Elvina Pearce proposed giving the student an “active role” in evaluation: “I believe that students who are allowed to participate in this kind of…procedure at the lesson will be more apt to implement the resulting practice suggestions at home than they will those offered solely by a ‘talk-and-tell’ teacher who does most of the orchestrating of the lesson happenings without much input from the student.”2 After considering the advice from these great pedagogues, it is clear that honest feedback that involves the student can help us break out of the “house of corrections.”

Feedback on Technique

The teaching of technique, at any level, depends on engaging, informed feedback from the teacher. Technique is often a student’s least favorite part of a lesson. There can be many reasons for this, but one is most likely the fact that the feedback from the teacher tends to be critical rather than positive—an unappealing topic with frequent negative feedback. However, even this challenging area of study can be saved from the “house of corrections.” Involving the student in the evaluation and feedback can go a long way toward making technique study engaging and productive.

This approach can be started even at the beginning of study. At this early level, 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 (the first joint near the end of the finger), they can be asked to evaluate their own fingers. This is far more meaningful than having the teacher criticize the weak finger joint.

When taking this approach, it is important that the teacher first asks the student how they think they did. For example, if the student has an exercise or repertoire passage that uses staccatos, it is most effective if, before they play, they are asked to listen for these crisp staccatos. 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, but always by having the student try the new things and having them evaluate how the new technique feels.

We hope you enjoyed this excerpt from Craig Sale’s article “Breaking Out of the House of Corrections.” You can read the entire article by clicking here.

Notes

1 Frances Clark, Questions and Answers; Practical Advice for Piano Teachers (Kingston, NJ: The Frances Clark Center for Keyboard Pedagogy, 1992), 16. 

2 Elvina Pearce, The Success Factor in Piano Teaching: Making Practice Perfect (Kingston, NJ: The Frances Clark Center for Keyboard Pedagogy, 2014), 17. 

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Body Mapping in the Piano Studio

Written By Kay S. Hooper

We would like to thank Kay S. Hooper for this insightful article about body mapping. To read the full article, click here.

On the count of three, point to the place where your upper arm meets your torso. One, two, three!

See Figure 1 below and find the place where you pointed. Most people point to the spot marked A, which they call the shoulder. If you did this, you are in good company.

However, this company is off the mark. The first joint of the arm is at C, the place where the collarbone (clavicle) meets the breastbone (sternum.) This joint is named the sterno-clavicular (S-C) joint because it is the meeting place of these bones. You can see this joint in Figure 2.

To find this joint, place the second finger of your right hand in the hollow at the top of the breastbone. Now move it toward the left in a slightly downward direction. You can feel a bone meeting the breastbone with a joint that may feel like a small crack. Keep your finger on this joint and move your left arm. What movement do you feel under your finger? Now freeze this joint and move your left arm. Does your arm move easily? Does it move at all?

If you’ve never had a Body Mapping experience before, you just had your first lesson. Body Mapping is the process of clarifying structures designed for movement.

If you encountered confusion about the first joint of the arm, the Body Mapping process of exploring joint movements and studying accurate images will help you correct this confusion.

When William Conable was teaching a class in Alexander Technique at The Ohio State University, he helped students find natural coordination through this hands-on process. Unfortunately, when they returned to practicing with their established patterns, they lost the ease of movement they had experienced during class, and he wondered why this was happening. Through keen observation and query, he discovered that they were moving according to misunderstandings about their structures. These misunderstandings are called “mismappings.” When these confusions were corrected, their movements improved.

We hope you enjoyed this excerpt from Kay S. Hooper’s article on body mapping. You can read the entire article by clicking here.

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The Body and the Beat: Developing Rhythm through Mindful Movement

Written By Lesley McAllister

We would like to thank Lesley McAllister for this insightful article on rhythm and movement. To read the full article, click here.

Movement, for children, is necessary for learning. Young bodies are fine-tuned sensory receptors collecting information, curious and eager to explore the world around them.1 The young child is in a period of sensitivity for gaining kinesthetic and sensory awareness, along with awareness of their own thoughts and emotions—which sometimes seem overwhelming. Learning through movement allows children to engage in joyful, intuitive experiences that lead to productive listening habits. This playful engagement keeps students attentive to their bodies while allowing abstract concepts like rhythmic notation to grow from natural experiences.

The joy of moving and responding to music is inborn, as seen in babies who dance by moving their bodies to music even before they can walk. There are strong two-way connections in the human brain between our auditory cortex and motor-control center.2 The rhythmic impulse is the driving force behind all music, and students who do not develop a strong sense of pulse early on in their musical studies may later lack melodic shaping, fluency, and momentum; in short, they will not sound musical.

Yet, for many teachers, the ways in which we work with rhythm are more mathematical than musical; students may learn to “count,” but not to truly feel the rhythmic drive in their bodies. The emphasis should not be just on rhythmic reading, but also on listening and responding to rhythmic patterns. While any musical concept can be experienced as whole-body movement, it is ideally suited for the internalization of pulse and the experience of contrasting tempi, meters, and rhythmic patterns.

The Benefits of Mindful Movement

When rhythmic practice is combined with slow, integrated movement, and particularly when used in correlation with the breath, the benefits are magnified. The positive impact of mindful movement on cognitive, physical, and emotional skills has been well-documented in research, with physical benefits including improved coordination, body awareness, and postural stability.

Mindful movement also boosts concentration and attention, increases memory, and improves the set of mental skills called “executive function skills,” which include the ability to plan, organize, and stay focused on tasks while resisting distractions. It enhances myelination between the two brain hemispheres, allowing for integrative processing across the whole brain, and relieves stress, resulting in better listening, comprehension, and retention of concepts.3

There are even musical benefits, too. Mindful movement increases auditory processing and responsiveness and assists with the development of the vestibular system or the inner ear, which is involved not just in balance and spatial orientation, but also in language processing and sound discrimination. With these benefits, mindful movement is particularly beneficial for children with special needs including those with ADHD, sensory processing disorder, anxiety, and autism.4

We hope you enjoyed this excerpt from Lesley McAllister’s article “The Body and the Beat: Developing Rhythm through Mindful Movement.” You can read the entire article by clicking here.

Notes

1 Carla Hannaford, Smart Moves: Why Learning is Not All in Your Head, 2nd ed. (Salt Lake City, UT: Great River Books, 2005), 92.

2 Adriana Barton, Wired for Music: A Search for Health and Joy through the Science of Sound (Berkeley, CA: Greystone Books, 2022), 36.

3 Lesley McAllister, Yoga in the Music Studio (New York: Oxford, 2020).

4 Lisa Flynn, Yoga for Children: 200+ Yoga Poses, Breathing Exercises, and Meditations for Healthier, Happier, More Resilient Children (Avon, MA: Adams Media, 2013), 56.

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Do You Use Summer Lessons for Special Reading Activities?

Written By Richard Chronister, Mary Ann Lenti, Berdine Ehrman

We would like to thank Richard Chronister, Mary Ann Letti, and Berdine Ehrman for this insightful article on summer reading activities. To read the full article, click here.

Both writers for this issue’s Music Reading Department take the view that summer is special for piano students. A good case can be made for discontinuing the regular curriculum and making sure that summer study is something that makes the coming autumn a thing to look forward to rather than a thing to dread. 

I think that one of the most important aspects of this summer-difference is that the activities mentioned below are inherently reader builders. There is a vast difference between knowing how to read and being able to read fluently. Reading drills which ask students to name notes (saying or writing), to draw intervals, to spell chords, are drills on how to read; they are not drills in actual reading. The only thing that can truly be called a reading drill is reading a piece of music (notes, rhythm, dynamics) and even then, it is reading only if the piece is played in what could realistically be considered a tempo. Reading and playing slowly and carefully is for working out new repertoire; it contributes little to learning to be a fluent reader—unless the slow playing of a passage or piece is instantly followed by faster, in tempo, playing. 

Students must read some new music in tempo every week, every day of every week, if they are to become the fluent readers everyone of them is able to become. This, I think, is the most important aspect of the summer programs you will read about here. May I urge you to also include some of these ideas in your year through curriculum. Producing fluent readers remains our second priority, close behind our most important goal—fostering the joy of making music at the piano.

“Gimme a break”

By Mary Ann Lenti

Ah, summer vacation – the very sound of it conjures up images of hammocks, fishing poles, a sandy beach. It means, for teacher and student alike, a welcome change from the activities of our work-a-day year. 

“Gimme a break” is the order of the day for using the summer for special reading activities. There are no recitals coming up, no homework for Freddy to rush home to, and no need for a meat and potatoes meal. Here’s a light summer menu of reading activities from which to choose.

​POPULAR MUSIC

​It is very exciting for children to create, with their own hands, the same soaring melody that lifted E. T. across a moonlit sky. And with the ascent of some fine composers into Hollywood’s elite, there is much music of quality from which to choose. 

The editor’s work is crucial here. Some companies throw together the latest hits in what they call “easy piano” format—more often than not, these are plagued by total lack of fingering, narrow margins, minimal space between staves, chords requiring a hand like Rubinstein’s, rhythms requiring a knowledge of calculus, and a texture consisting of unison playing on page one followed by chromatic double thirds and octaves on page three. 

To insure success, begin by examining pop collections by your favorite pedagogues. For example, Alfred’s Basic Adult Pop (or Jazz, or Western) Song Piano Book series comes in several levels, and contains clearly printed, logical, and well-fingered arrangements suitable for your 2nd- and 3rd- year younger students as well as your adults. 

The Music Pathways series (Carl Fischer) also has a Something Light collection which covers blues, boogie, western, rock, and pop. Again, this is intelligently arranged and edited, and will insure a successful reading experience. There are many other pedagogic collections from which to choose. 

If you prefer sheet music of specific student favorites, Bill Boyd’s arrangement for MCA of Somewhere Out There is a good example—clearly printed and fingered, creating a big effect with simple means. There are no big stretches, and no chordal endings to rival The Great Gates of Kiev. Ditto for Felfar Music’s Linus and Lucy.

Piano Duets

As one half of a piano duet team, I have championed the use of duets for reading motivation from coast to coast. Not only does the student have to keep going (since neither wind, nor rain, nor “mess-ups” will stay the teacher from the final cadence), but the student also learns valuable lessons in balance, rhythm, and ensemble. 

There are countless volumes of wonderful duets for reading, but my personal favorites are by Diabelli, in which the primo part stays in a five-finger position. Both the Melodious Pieces, Op. 149, and the Pleasures of Youth, Op. 163 yield more dynamism from a stationary position than seems possible. For student motivation, there’s nothing like sounding like a hundred bucks on twenty bucks worth of effort.

We hope you enjoyed this excerpt from Richard Chronister, Mary Ann Letti, and Berdine Ehrman‘s article about reading activities during summer piano lessons. You can read the entire article by clicking here.

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What is a Good Piano Sound and How Do You Get it?

Written By William Fried

We would like to thank William Fried for this insightful article on making a beautiful sound at the piano. Want to learn more about tone production? Check out the latest issue of Piano Magazine. Our new summer issue can be found by clicking here.

“You get a terrible sound at the piano, William. Just terrible.” So spoke my teacher in college, in an admonition I would hear many times over four years. A wonderful person and infinitely generous, but she did not mince words.

“Thanks a lot, Arlene,” I muttered under my breath, before trying the passage again.

She was right, of course. I did get a terrible sound at the piano. I could hear it. Or rather, I could hear the difference when compared with the polished sound in recordings. Why didn’t my Mozart sparkle like that? My playing sounded dull and heavy and forced.

There were reasons, no doubt. Bad technique, certainly. Rapid teenage growth spurts that led to Glenn Gould-esque hunching over the keyboard didn’t help. Nor did the shallow-actioned and unresponsive Kimball baby grand that had been my instrument since childhood. But accurate accounting of blame wasn’t going to solve my problem, and there I was: a college freshman hacking and slashing my way through Chopin and Liszt. And as I progressed, I began to suspect that this was the ceiling holding me back, the main cause of disappointments in competitions and auditions.

And in this, my teacher may have been out of her element. A former child prodigy herself, everything came easy to her. It’s simple: you just listen and hear it and fix it. What’s this kid’s problem? Or maybe she did have the solution and I wasn’t ready to hear it. It’s hard to know with these things.

When I did finally begin to address this problem, help came in the form of a relatively late learner—my teacher in graduate school had initially been a composer before switching to playing the piano full time. Maybe there is something to this. I remember Irish pianist and pedagogue John O’Conor once saying in a masterclass that he attributed his success as a teacher to his figuring things out so late in life. He could still recall the process of learning; it hadn’t happened when he was too young to remember.

Whatever the reason, upon hearing my playing, this new teacher knew exactly what I needed. He prescribed a regimen he credited to his own teacher, the Brazilian pedagogue William Daghlian: Tausig exercises to be practiced slowly, attentive to physical gesture and the conditioning of good habits, with an ear always to the resulting sound. I became aware of things, trivially simple things, that I had previously never noticed. Like the importance of letting go of a note (he called these “releases”) at the very moment of the next so that there’s no gap or overlap between them. Easy to do if you know to do it. And the very process—hearing and correcting little things—became empowering in itself. The more I heard, the more I demanded from my fingers, which found a way to deliver and allow me to hear more and insist on more—a virtuous cycle. And my sound, once this intractable bugbear, began to improve, gradually but noticeably, and it was narcotic—like getting the keys to the kingdom. Like the character in Forrest Gump who, once he sheds his crutches, determines to run everywhere, I was resolved to play with sound. Debussy and others like him became my exclusive focus for quite a while. In retrospect, I might have benefitted from hearing, like Horatio, that there were more things in heaven and earth than dreamt of in my new philosophy, but honestly, I’m not sure I would have listened. That which has eluded us the longest, once we finally attain it, we value above all other things.

We hope you enjoyed this excerpt from William Fried’s article “What is a Good Piano Sound and How Do You Get it?” To read the full article, please click here.

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NOTES
  1. Harvard Medical School. “A Brief History of Artificial Intelligence.” Harvard University. Last modified September 28, 2017. sitn.hms.harvard.edu/flash/2017/history-artificial-intelligence/.
  2. Microsoft. “Workshop: Interact with OpenAI Models.” Microsoft. microsoft.github.io/Workshop-Interact-with-OpenAI-models/llms/.
  3. OpenAI. “ChatGPT: Conversational AI developed by OpenAI.” OpenAI. openai.com/chatgpt.
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A Tribute to Gary Ingle

Written By Jennifer Snow
by Jennifer Snow

Published in Piano Magazine, Summer 2024 Issue

Leadership is a term that is frequently used. A quick google search reveals a range of characteristics, terminology, and definitions of success. The truth of effective leadership lies in the person—an individual who impacts a profession, motivates and inspires, builds community, navigates change, directs through crisis, builds connections, and creates new paths and resources for the future. In our field, Dr. Gary Ingle has exemplified inspired leadership for over twenty-eight years at the helm of the Music Teachers National Association (MTNA). This summer, Dr. Ingle will complete his tenure as CEO and Executive Director of MTNA. Gary, as he is known to most of us, has been a long standing friend and partner with the Center. Because of his expert leadership, we have benefited for decades from our rewarding collaboration with MTNA. Our founders, Frances Clark and Louise Goss, were passionate members of MTNA and worked with Gary to support piano teachers across the country. Our continued close relationship with Gary and MTNA has been one of the most important relationships for the Center and our shared, purposeful work.

As a leader in the profession, Dr. Gary Ingle has dedicated himself to advancing music education globally. The list of boards and associations he has served is broadly international and extensive. In his MTNA role, he worked tirelessly to advocate for the profession and actively built new networks. His vision propelled MTNA and the profession at large to be more broadly engaged. The long list of MTNA initiatives and programs developed under Gary’s leadership speaks to his creativity, collaborative approach, and service to all. As the largest and most influential organization in our field, MTNA leads and supports teachers across the country, as well as non-profit organizations like the Frances Clark Center and the larger music education industry.

We are all very grateful to Gary for his stewardship in recent years through the pandemic. Through his tenacious leadership, the profession remained resilient and relevant. We weathered the difficult times together as a community because MTNA continued to lead and inspire.

In addition to MTNA program advancement, Gary also led new opportunities through the creation of grants, scholarships, partnerships, and awards. Through tireless advocacy, Gary raised awareness and funds to support the future of the profession and elevate the contributions of many. For us at the Frances Clark Center, The MTNA Frances Clark Keyboard Pedagogy Award was established through a bequest to MTNA from Frances Clark. Throughout Gary’s leadership, the Center has worked closely with MTNA to recognize innovative new contributions to the field of piano education.

The steadfast vision for MTNA, passionate advocacy for music educators, tireless dedication, service to the community, and genuine care for all of us, make Dr. Gary Ingle one of the most transformative leaders in our history. His commitment to emerging professionals is unparalleled. Many of us built, and continue to build, our careers with opportunities provided through MTNA. Throughout my own career development, I have always upheld Gary as a kind and effective leader that one aspires to emulate. Gary’s expert leadership fervently supported the membership and the board, allowing new ideas to advance and flourish.

On behalf of the Frances Clark Center Board of Trustees, Staff, and Center community, present and past, we congratulate our friend and colleague Dr. Gary Ingle on his outstanding and impactful leadership. We look forward to his next stages and know that he will continue to contribute to the field in transformative ways that benefit music educators and amplify the power of music. We also congratulate the new MTNA CEO, Brian Shepard, as we look forward to our future collaborations.

Leveraging Artificial Intelligence in the Piano Studio

Written By Omar Roy

We would like to thank Omar Roy for this insightful article on artificial intelligence and its use in the piano studio. Want to learn more about artificial intelligence? Check out the latest issue of Piano Magazine. Our new summer issue can be found by clicking here.

In recent years, the proliferation of Artificial Intelligence (AI) has simultaneously caused both awe and controversy. Many express curiosity regarding how it works, what its limitations are, and how it might be used for their benefit. However, AI is not a new phenomenon and has been around for decades, with its development beginning as early as the 1940s and 1950s, most notably with the work of Alan Turing.1 On a more sophisticated scale, OpenAI’s “ChatGPT” has become almost ubiquitous with the term “AI,” though it is only one example of the extent to which AI has been developed. But what exactly is ChatGPT, and why is it so popular?

ChatGPT is a Generative AI (GenAI) constructed around a Large Language Model (LLM). According to Microsoft, a large language model is “a type of AI that can process and produce natural language text. It learns from…text data such as books, articles, and web pages to discover patterns and rules of language from them.”2 Whenever you send a text message, you’ll see predictive text suggestions to complete your message—that’s an LLM at work. ChatGPT happens to be one of the most comprehensive and most widely known. With the right prompts, ChatGPT can generate content that is surprisingly sophisticated, making it a powerful tool in the right hands.

ChatGPT and the Independent Piano Teacher

While much effort is being channeled into uncovering the latent possibilities for AI as a pedagogical aid, the use of AI in business-related administrative tasks is well documented.

Within the independent piano studio, teachers often act in other capacities. These include the roles of business owner, manager, customer service representative, and event planner, to name a few. Each of these roles is often laden with administrative responsibilities that can be time consuming. While there exists software to address many of the tasks that teachers may run into, some teachers may not yet have a large enough studio, or the revenue, to justify a subscription to a studio management system. In this article, we’ll explore a few examples of common tasks and how teachers can leverage ChatGPT to accomplish those tasks more efficiently.3

Remember, tools like ChatGPT
are LLMs – Large Language Models,
not creative thinkers or researchers.

Entering the AI Playground

Scheduling, for example, can be an extremely time-consuming task without the aid of some sort of scheduling software. ChatGPT makes swift work of collating multiple availabilities into a single schedule in mere seconds. Simply copying and pasting the various availabilities into the prompt area and asking ChatGPT to assign times based on mutual availability yielded the following result.

You:

Compile the following schedules of availability so that each person gets a single 1-hour meeting with me on either Monday or Tuesday between the hours of 9:00 AM to 5:00 PM. People may not share the same time with each other.

Michael: Monday 9:00am-12:00pm, 1:00pm to 2:00pm, 3:30pm – 4:30pm; Tuesday 12:00-1:00pm, 2:00pm-3:30pm

Vivek: Monday 9:00am-10:00am, 1:00pm to 2:00pm, 3:00pm – 4:30pm; Tuesday 12:00-1:00pm, 2:30pm-4:30pm

Xiaohan: Monday 10:00am-12:00pm, 1:00pm to 2:30pm, 3:30pm – 5:00pm; Tuesday 11:00am-1:00pm, 1:30pm-3:30pm

Stephanie: Monday 10:30am-12:00pm, 1:30pm to 3:00pm, 3:30pm – 4:30pm; Tuesday 12:00-1:00pm, 2:00pm-3:30pm

ChatGPT:

Here’s the compiled schedule with each person having a single 1-hour meeting with you on either Monday or Tuesday between 9:00 AM to 5:00 PM, and ensuring that no two people share the same time slot:

  • Michael: Monday 9:00am – 10:00am
  • Vivek: Monday 10:00am – 11:00am
  • Xiaohan: Monday 11:00am – 12:00pm
  • Stephanie: Monday 1:30pm – 2:30pm

All meetings are scheduled for 1 hour within your specified time frame, and each person has a unique time slot.

While this example involves only four students, it’s quite easy to scale this to larger numbers—if you have everything organized in a spreadsheet, you can even copy and paste the entire spreadsheet into the prompt box. Note that the current free version of ChatGPT (GPT 3.5) no longer supports document upload, so users must upgrade to the paid version (GPT 4.0) in order to access those features.

We hope you enjoyed this excerpt from Omar Roy’s article “Leveraging Artificial Intelligence in the Piano Studio.” To read the full article, please click here.

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NOTES
  1. Harvard Medical School. “A Brief History of Artificial Intelligence.” Harvard University. Last modified September 28, 2017. sitn.hms.harvard.edu/flash/2017/history-artificial-intelligence/.
  2. Microsoft. “Workshop: Interact with OpenAI Models.” Microsoft. microsoft.github.io/Workshop-Interact-with-OpenAI-models/llms/.
  3. OpenAI. “ChatGPT: Conversational AI developed by OpenAI.” OpenAI. openai.com/chatgpt.
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The Piano Geeks: A Tribute to George Litterst

Written By Shana Kirk

We would like to thank Shana Kirk for this tribute to George Litterst, one of last year’s Frances Clark Center Lifetime Achievement Award Winners. To read the full article with more tributes to George Litterst and Michelle Conda, click here.

George Litterst at NCKP 2023: The Piano Conference.

I first met George Litterst in 2000, when a mutual colleague dragged me across an exhibit floor, insisting that I see this laptop with a musical score scrolling across the screen while following the keyboard player’s tempo. That first introduction to George and his fledgling Home Concert 2000 software turned out to be a pivotal moment in my own professional development. It launched more collaborations that I can count, not to mention a decades-long friendship and an ever-growing collective of like-minded colleagues.

Shana Kirk hugging George Litterst.
Samuel Holland, George Litterst, Jennifer Snow

Following George’s enthusiasm for the cutting edge, our group of piano geeks has constantly pursued technology-based solutions to challenges a teacher, student, or performer could encounter. In the early 2000s, it was George’s tinkering with MIDI over dial-up Internet that laid a foundation for Internet MIDI software, now used worldwide for online piano teaching. Observing a need for more audience-friendly performances, George hacked together assorted technologies to create multimedia recitals that could be synchronized from a keyboard. Of course, it was also George who first advocated for efficiencies, such as chatting over AOL Instant Messenger, collaborating on proposals using Dropbox, and even traveling with GPS from a cell phone!

Beyond such measurable contributions, George has most significantly led by example with his spirit of generosity. If you have asked George a question at a conference, you may have found yourself huddled with him an hour later. If you asked a question online or sent an email, you may have received an invitation to a Zoom meeting so thorough that it could count as a college credit.

I know I am speaking for many in saying this spirit of generosity has lifted our profession in immeasurable ways. We are honored to be friends and colleagues and look forward to many more years of working together!

We hope you enjoyed this excerpt from the tributes to the Frances Clark Center’s Lifetime Achievement Award winners. You can read the entire article by clicking here.

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What is Appropriate at the Early Level for the Gifted Child? Do You Use a Method Book?

Written By Ingrid Jacobson Clarfield, Martha Appleby

To celebrate the latest episode of Piano Inspires Podcast featuring Ingrid Clarfield, we are sharing an excerpted article with her commentary on how she works with children who are musically gifted. Want to learn more about Clarfield? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Clarfield on Apple Podcasts, Spotify, YouTube, or our website!

Individual differences can be met by adjusting level, quantity, and goals…

To answer this question, I must first tell you my basic teaching philosophy: Students rise to the level expected of them. With that ideal I teach all students, adjusting my level of expectation with the “gifted” student. 

When selecting repertoire for early level students, I use materials that emphasize the following musical elements: 

1. Beautiful singing tone 

2. Melodic shaping 

3. Comprehension of the mood of the piece 

4. Balance 

5. Timing and intensity of goal notes

With gifted students I can incorporate these elements into their repertoire from the beginning. As they learn to read music, the emphasis includes reinforcing technique and listening skills. Philosophically, while I feel all students should be trained with these goals, it is easier for the gifted student.

To make these musical concepts more obvious, I often assign descriptive music. For beginners, I use The Music Tree series by Frances Clark and Louise Goss (Summy-Birchard). The words relate to the music and each piece is carefully designed to teach or reinforce a specific element. From day one, students are trained to LISTEN and think about the music’s meaning. While this method is good for all of my students, it is ideal for the gifted student. We just move faster and use more supplementary rote pieces and exercises. I particularly like The Music Tree series for teaching upper arm freedom and melodic shaping.

For specific repertoire, I assign music from all four periods. The gifted student is particularly intrigued by the variation of sound and technique that changes with the style. For Baroque music, I use the traditional, easier Bach pieces and the simpler Scarlatti Sonatas. The Introductory editions published by Alfred, Introduction to Handel, Introduction to Scarlatti, and others in this series provide excellent material. Other collections I use are the Early English Sonatinas edited by Rowley (Boosey & Hawkes) and two volumes of Very First Classics edited by Gray (Boosey & Hawkes).

The Classical period is amply represented by the standard Sonatinas plus the Mozart Viennese Sonatinas and the less difficult Haydn Sonatas. I encourage students to think orchestrally for a wide spectrum of sounds and distinct contrast in mood, touches, and dynamics.

The music of the Romantic period involves pedaling skills and rubato from the earliest stages. I applaud the Alfred Publishing Company for the choice of pieces in the Introduction to Chopin, Introduction to Grieg, and Introduction to Schumann editions. These collections include ideal pieces for work on the elements crucial to an understanding of the Romantic style.

The 20th century provides us with an abundance of outstanding early-level music by Prokofiev, Shostakovich, Kabalevsky, Bartok, and Gretchaninoff. This repertoire encourages communication of moods and a wide range of dynamics and touch. Two of my favorite living composers of effective descriptive pieces are Dennis Alexander and Seymour Bernstein.

We hope you enjoyed this excerpt from Clarfield and Appleby’s article about working with children who are gifted. You can read the entire article by clicking here.

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