Power of a Piano Teacher

Four Powerful Lessons in Piano Pedagogy: Honoring Carmen Cambronero, Katia Guevara, Gregory Sioles, and Willis Delony

Written By Carla Salas-Ruiz

We would like to thank Carla Salas-Ruiz for this tribute to her teachers, Carmen Cambronero, Katia Guevara, Gregory Sioles, and Willis Delony. As we continue the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.

Carla Salas-Ruiz chatting with Professor Sioles at the end of her Master’s graduation commencement.

Lessons Beyond the Keys with Mrs. Carmen

When I was six years old, I had a little red piano as a toy, and I’d spend hours playing it.

Though I couldn’t articulate what I was doing, playing with this “toy” was wonderful. I distinctly recall urging my mom to sign me up for piano lessons, driven by my desire to explore this captivating instrument. One day, my mom said, “Ok, let’s put you in piano lessons.” What a joy! It marked one of the happiest moments of my life. A couple of weeks later, my mom took me to my very first lesson, introducing me to Mrs. Carmen. Mrs. Carmen graciously welcomed me into her studio, and over the years, she nurtured my love for music. With her remarkable expertise and ability to simplify complex concepts, she guided me through harmonization, improvisation, transpositions, memorization, and various other musical principles. To this day, I attribute the solid foundation Mrs. Carmen provided me as my secret weapon in the challenging music theory classes of grad school. 

In my fourth year with Mrs. Carmen, she communicated to my mom that “it was time for me to move forward.” My mom explained to me that Mrs. Carmen suggested I consider continuing piano lessons in a different program. Although my heart was set on continuing study exclusively with Mrs. Carmen, I placed my trust in her judgment and auditioned for this new program. The last day I spent with Mrs. Carmen was bittersweet. However, she said that it was time for me to transition to another school that could offer what I needed. What a transformative lesson it turned out to be! Mrs. Carmen not only taught me the musical ABCs but also imparted a profound introduction to piano pedagogy.

New Beginnings with Professor Guevara

With Professor Guevara, I encountered my first Chopin, my first Bach, and the works of many other composers. She helped me to reach the “next level” and did so with abundant care, empathy, love, and respect. Our weekly lessons became the highlight of my week. Professor Guevara approached each session with meticulous attention to both technical and musical details, instilling in me the understanding that in music, there is always more to learn, and multiple approaches exist for exploring a piece; there is never a single correct answer. 

As I approached the end of my high school years, the decision loomed about whether to pursue music in college. While I was certain that music was an integral part of my life, I had doubts that  I possessed the skills necessary for college success. I confided in Professor Guevara, expressing my uncertainty. In response, she posed a series of questions that resonated with me. “Carla, can you envision yourself doing something other than being a musician?” I replied, “No.” She continued, “Can you picture a day without talking, playing, and thinking about music?” Again, my answer was “No.” With that, she stated, “There you have your answer.” What a powerful lesson! Professor Guevara consistently guided me to address my questions, leading me to discover my own answers. Her teaching approach helped me find my voice, as she encouraged me to explore and identify what I wanted and needed for both myself and my music.

Maria, Carla, and Professor Guevara celebrating at the conclusion of Carla’s pre-college program recital.

Pursuing Education Overseas 

Choosing to leave Costa Rica and fully immerse myself in the world of piano pedagogy led me to Louisiana State University, where I had the privilege of studying under Professor Sioles. Over the span of two years, he not only transformed my understanding of music but also encouraged me to embrace new ideas. Throughout this period, I faced challenging circumstances, including the loss of my grandfather, a dear aunt, and navigating my father’s cancer treatment. Professor Sioles consistently offered unwavering support. With his mastery, he provided advice through the language of music, clarifying concepts that had eluded me for a long time while simultaneously calming my mind. All of this through music! His constant presence reassured me that my music was always there for me.

Professor Sioles and Carla during a summer camp at the University of Costa Rica.

I will never forget the minutes before my final master’s recital, feeling very nervous backstage. While I was in the green room, Professor Sioles came to me and asked how I was feeling. I confessed, “Professor Sioles, I am very nervous; do you think I’ll be able to make it happen?” He responded, “Carla, you ALREADY made it happen! Today, you’re sharing your story with us—share your voice; we want to hear you!” I will never forget this moment. What a powerful lesson! I carry this answer with me every day, sharing it with my students and reminding myself every time I’m about to walk on stage.

Adapting to Change and Concluding Processes

I began lessons with Professor Delony in Spring 2020—do you recall that semester? We navigated the challenges of the pandemic together, progressing from fully masked lessons to nearly mask-free sessions, and eventually rejoicing in the return to in-person studio parties. He adjusted to all this with such mastery and compassion. 

From the very first day, Professor Delony treated my playing with profound respect, consistently encouraging me to “consider multiple perspectives” regarding pedaling, phrasing, articulations, and more. While he discerned my needs from the outset, he patiently guided me through the process. Professor Delony always challenged me to give more while understanding the demanding hours I had to dedicate to writing and research daily. I left his studio feeling capable of anything. Beyond being a mentor for musical matters, he served as a sounding board for decisions both in music and life.

Left: Carla after her last lesson with Professor Delony. Right: Carla and Professor Delony pictured after she received the “2021 LSU Teaching Assistant of the Year” award.

I distinctly recall a conversation about taking risks. He said, “Carla, there are opportunities you need to seize because if you don’t, you will never know what you could have achieved or experienced. Sometimes, the most rewarding outcomes come from stepping out of your comfort zone and embracing the uncertainties that accompany taking risks.” Professor Delony not only attended my recitals but also made a point to be present at my research defense. Acknowledging my varied interests, he offered steadfast support, guiding me through every aspect of my academic journey.

Thank you, Mrs. Carmen, Professor Guevara, Professor Sioles, and Professor Delony, for four powerful lessons in piano pedagogy and beyond.

MORE ON THE POWER OF A PIANO TEACHER

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
The Power of a Piano Teacher

Carla Salas-Ruiz holds a Bachelor’s degree from the University of Costa Rica and a Master’s and PhD from Louisiana State University. She is a piano instructor at Brazosport College, dedicated to fostering a supportive, inclusive, and stimulating learning environment. Her research focuses on motivation, interest development, and effective practice strategies in piano education. Carla has presented her research at national and international conferences and contributed to research journals.

Back to Discovery Page

Every Student Has a Voice the World Needs to Hear | Honoring Carole Ann Kriewaldt

Written By Leah Claiborne

We would like to thank Leah Claiborne for this tribute to her teacher, Carole Ann Kriewaldt. This week, we also celebrate Leah, founder of Ebony Music, INC., who received a $150,000 grant from the Sphinx Venture Fund to develop The Ebony Music Project! As we continue the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.

Leah Claiborne on the far right, directly next to her teacher, Carole Ann Kriewaldt (red shirt).

In the summer of 1995, I had no idea the path my life would take once Carole Ann Kriewaldt entered my life.

It’s amazing the small details you remember in pivotal moments of your life. My mom informed me that we would be meeting with a woman to see if she might accept me as  a piano student. My mom made it very clear that this was not a lesson—it was a trial, an interview, nothing had been decided yet. Five-year-old me heard this and thought, “challenge accepted!” I wanted to do whatever it would take to be able to start piano lessons.

Before going to Broken Reed Court, my soon-to-be second home, I asked my mom if I could wear my favorite summer dress. It was a white linen dress that had big strawberries all over it. I thought it was the prettiest dress ever made, and I only wore it for special occasions. My mom obliged, so I quickly changed and got in the car.

When my parents knocked on the door to this brown townhouse, the door opened and this towering woman stood there. She invited us in; the house smelled like French-vanilla candles. My parents sat down and I remember knowing I should have sat down right next to them—but I didn’t. I went straight for the piano bench. It’s amazing to think how small I must have been because I struggled to get on top of the bench—but I was determined. When my parents saw this struggle, my dad called my name. Before I could get off the bench to go sit next to him, I was lifted up by this woman. She took me into her arms, looked straight at me and said, “Well, aren’t you the prettiest strawberry shortcake I have ever seen!” (She was on my side.)

Leah Claiborne and Carole Ann Kriewaldt

She positioned me on the bench and sat down right next to me. She said that she was going to show me where middle C was on the piano. Before she could stretch out her hand to do so, I put my thumb on middle C. And then with some makeshift fingering I said, “CDEFGABC, and then it keeps repeating.” She said, “OH!!!! We have a smart one here, don’t we, Strawberry Shortcake?”

I laughed so hard and questioned momentarily if she knew my name wasn’t Strawberry Shortcake. It was a laugh that I would continue to experience only with her. I looked at my parents and they approved with laughter. At that moment, I didn’t realize that those three people were always, always going to be on my side. They were there making sure I worked to my best ability, moving mountains on my behalf until I realized that I could move them on my own.

It’s hard to capture a twenty-five-year relationship. The moments I think about most have nothing to do with music, but it all started there.

She taught me that every student’s voice is unique and there is something incredibly special about them that the world needs to hear.

Mrs. Carole was home. She had an open-door policy (literally), and she was a person I knew would always be awake in the middle of the night for a phone call (she never slept)! Our relationship became one that held every dream, secret, desire, problem, fear, or ambition of mine. She knew it all. Before any recital, performance, or competition she would say, “Go knock em’ dead, kid” in her big southern, Texas accent. She nurtured what it meant to be “Leah” and made me believe that the world needed to hear from me. 

I vividly remember one holiday when we went shopping for red boots for her granddaughter. We went all over town looking for these boots and I was just so happy to be spending the day with her. In one store a sales associate asked her, “Now, who is this little one in relation to you?” Mrs. Carole said, “That’s my grand baby!” The sales associate was shocked by her response, and it never occurred to me why. But now, I imagine that in our little town, a German woman born in Texas, saying a little Black girl was her granddaughter might have been shocking to some. I reflect on this a lot because it is a constant reminder to me how music has a profound way of building deep relationships, and how music cuts through social barriers with shared culture and life experiences.

The greatest lesson I learned from Mrs. Carole is the lesson I try to give to each of my students every week. She taught me that every student’s voice is unique and there is something incredibly special about them that the world needs to hear. We have the privilege as educators to tap into that voice, through music, and prepare them to step out on any “stage” with the confidence of knowing that the world needs to hear from them.

MORE ON THE POWER OF A PIANO TEACHER

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
The Power of a Piano Teacher

Leah Claiborne, D.M.A. promotes diversity in the arts by championing piano music by Black composers in her performances, research, and teaching. She serves as Director of Diversity, Equity, and Inclusion for the Frances Clark Center/National Conference of Keyboard Pedagogy.

Back to Discovery Page

A Tribute to John Salmon

Written By Heather Hancock

We would like to thank Heather Hancock for this tribute to her teacher, John Salmon. As we continue the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.

Heather Hancock at the piano.

Writing about someone whose significance continues to expand in the world and, in my own life, is a daunting task. Words seem too small! I can only hope that somehow, my black and white text might serve as a constellation guide, sharing some of my own admiration, wonder, and gratitude for someone who has been and continues to be such a luminous presence. 

I first met Dr. John Salmon in 1991 at my audition at UNC-Greensboro. Auditions were being held in a small faculty studio, where no one was more than three feet away from anyone else, creating a heightened sense of exposure. As always, after playing, I felt incredibly vulnerable and had an acute desire to dissolve into the air along with the last note. I sat anticipating the familiar, awkward silence where, typically, there is no acknowledgement of what has just transpired, only the sound of judges, jurors, or faculty scribbling down their critique. But the silence never came. Instead, John eagerly piped up, saying, “What beautiful, heartfelt playing! What are your SAT scores?” I was so taken aback by his uninhibited enthusiasm that tears sprang to my eyes, and it took me a moment to respond. This was the last of my college auditions, and UNC-Greensboro was the only university on my audition roster.  Every other school was a conservatory of music and honestly, UNCG had been my last preference. After my audition, John found me sitting on a bench in the School of Music and came right over and THANKED ME!! 

Weeks later, as I was trying to make my final decision about where I would attend, I kept coming back to John’s incredibly generous, kind, and encouraging response to my audition. I didn’t have the language for it then. I just felt drawn to his sincerity and willingness to engage, so unconstrained by the power dynamics and nit-picking critiques that seemed a sad but predictable norm of classical piano culture. John’s warmth, immediate encouragement, and passion for music were unique. I had the privilege of studying with him for four years at UNCG, where I got to behold his rare, multi-layered brilliance and captivating personality in action. I watched him as he tirelessly birthed Focus on Piano Literature, an annual symposium featuring world class performing artists and pedagogues from around the globe. I heard several phone conversations between he and Dave Brubeck, saw letters he exchanged with Kapustin, and routinely attended his dazzling performances, which often showcased his duo virtuosities as both a jazz and classical pianist. 

John Salmon.

My lessons were always a rich synthesis of ideas and inspirations; we talked about politics, religion, philosophy, ethics, recordings, performances, art exhibits, languages, and so much more. John was eager to engage in whatever was engaging to me. He understood that, for some of us, there is no separating artistry and pianism from the rest of life, that music and its making are not confined to a field of study. Music, like air, is an essential element of being human and therefore relevant to everything. Before social justice initiatives and strides toward equity, diversity, and inclusion were topics of inquiry in academia, I watched John break racist barriers, advocating for and collaborating with musicians of every color, spanning the gamut of musical genres. He understood the conditions of his own privilege and was using his music as a resource for making things better. To me, this exemplifies a true artist; someone who views their craft as a continuous invitation to serve and better the world.

John and I have remained close friends for the last three decades and my respect and admiration have continued to grow. As a college student, I was aware of John’s brilliance and cherished his expertise, kindness, and generous guidance. Now, having a broadened perspective of the world, I appreciate how rare John’s profound artistic and personal integrity are, and how these have imprinted on every aspect of my life. This is the power of a piano teacher, and now it is my turn to eagerly pipe up and say, “What beautiful, heartfelt teaching. THANK YOU!!!”

MORE ON THE POWER OF A PIANO TEACHER

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
The Power of a Piano Teacher

As a Performing Artist, Pedagogue and Activist, Heather Hancock is passionate about the intersection of artistry and social justice. Currently, Heather is a DMA candidate (Piano Performance) at The University of Georgia where she is a Teaching Assistant. Her research explores solo piano works that directly engage social justice issues. As a collaborative pianist, Heather delights in exploring works by under represented composers as well as newly discovered and contemporary composers.

Back to Discovery Page

Thank You!

Written By Heather Smith, Jennifer Snow

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

We extend our deepest gratitude for your incredible support on #GivingTuesday!

Together, we’ve accomplished something truly remarkable. Thanks to your generosity, we exceeded our $10,000 goal, including a matching gift of $5,000, in support of The Frances Clark Center’s mission to empower teachers, inspire students, and enrich communities through music education.

Your donations will have a substantial impact, and we are immensely grateful for your contribution. Your belief in our cause propels us forward in our efforts to make a difference.

Even though #GivingTuesday has concluded, there is still an opportunity to donate. While this day holds immense significance, it is just one moment within our broader Annual Fund initiative.  

Help us continue this vital work by contributing today:

Give now

We deeply appreciate your ongoing support and dedication to music and piano education. Together, we’re creating meaningful change and shaping brighter futures through the power of music.

With heartfelt thanks,

Dr. Jennifer Snow

CEO and Executive Director

jsnow@francesclarkcenter.org

Heather Smith

Director of Development and Advancement

hsmith@francesclarkcenter.org

The Marvin Blickenstaff Institute for Teaching Excellence

In 2023, the Frances Clark Center established the Marvin Blickenstaff Institute for Teaching Excellence in honor of his legacy as a pedagogue. This division of The Frances Clark Center encompasses inclusive teaching programs, teacher education, courses, performance, advocacy, publications, research, and resources that support excellence in piano teaching and learning. To learn more about the Institute, please visit this page. 

We extend a heartfelt invitation to join us in commemorating Marvin Blickenstaff’s remarkable contributions by making a donation in his honor. Your generous contribution will help us continue his inspiring work and uphold the standards of excellence in piano teaching and learning for generations to come. To make a meaningful contribution, please visit our donation page today. Thank you for being a part of this legacy.

Donate Online

MORE ON THE POWER OF A PIANO TEACHER

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
The Power of a Piano Teacher

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.

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.

Back to Discovery Page

The Joy of Giving

Written By Heather Smith

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

As the year draws to a close, I find myself reflecting on how giving has profoundly influenced my life. I have experienced the joy, fulfillment, and transformation of being on both the receiving and the giving ends. The act of giving, whether through financial contributions, volunteering, or acts of kindness, has enriched my life in ways that are immeasurable. It has allowed me to connect and learn from inspiring individuals, and this has expanded and clarified my purpose.

In my journey through the world of music education and my experience with the Frances Clark Center, I have had the privilege of witnessing the incredible power of giving. My first encounter with the Frances Clark Center was as a subscriber to Clavier Companion, now Piano Magazine. I read an article by Scott Price that left a lasting impression on me. The article discussed how piano lessons can be more than just an educational experience for a student with disabilities. It was a powerful reminder of the broader impact music education can have on individuals.

One of the most significant moments in my teaching journey came when I had the opportunity to work with a student with cerebral palsy. This student, whom I adored, came to her piano lessons each week with unwavering enthusiasm and a radiant smile. She progressed at her own pace and motivated me to be a better teacher every week. She inspired me through her pure love for music.

This student struggled at school due to bullying and isolation from her peers. The world was a challenging place for her, but during our piano lessons, she found solace and a sense of belonging. She looked forward to her lessons because she loved music, and more importantly, she felt accepted and cared for.

It was through this experience that I truly grasped the significance of the Frances Clark Center. The magazine article helped me realize that the impact of music education goes far beyond the notes and the keys. It is a gateway to a brighter, more inclusive world for those who need it most.

The joy of giving lies in the transformation it brings to both the giver and the recipient. I am reminded of the inspiring words of Kathy Calvin, United Nations Foundation CEO, who said, “Giving is not just about making a donation. It is about making a difference.” The Frances Clark Center’s unwavering dedication to support piano teachers and students resonates with my own experiences and values in a profound way. Its sole purpose is to uplift and empower piano teachers, and I have seen this firsthand. 

As the Director of Development and Advancement for The Frances Clark Center, I have witnessed the tireless efforts put forth to support piano teachers and their invaluable work in shaping the lives of students.

Heather Smith
Director, Development and Advancement

What makes this journey even more enriching is hearing the countless testimonials from teachers whose lives have been touched by The Frances Clark Center. I have listened to their heartfelt stories, their triumphs, and their challenges. I am deeply moved by the impact this organization has had on their lives.

One teacher from the southwestern United States expressed that The Frances Clark Center is her lifeline to the music community. She described how isolated she has felt in her remote area, and that The Frances Clark Center’s programs are her only source of connection and professional development. This testimony, along with many others, underscores The Frances Clark Center’s significance. It has not only provided these educators with invaluable resources but also a sense of belonging to a broader community of like-minded individuals.

Recently, a long-time subscriber of Piano Magazine made the decision to continue making monthly donations even after she retired from active teaching. Her contribution directly impacts the sustainability of the publication for years to come. This type of giving reflects her belief in the core mission of The Frances Clark Center, which supports piano teachers who, in turn, make a transformative impact in the lives of their students and a positive impact in society.

As we approach the end of the year, I invite you to consider making a tax-deductible gift to The Frances Clark Center. Your generosity makes a significant difference in the lives of others, and is vital in helping us continue our mission.

The joy of giving comes from knowing that your contributions are making a profound difference in the lives of teachers and students. We are sincerely grateful for your support.

MORE ON THE POWER OF A PIANO TEACHER

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
The Power of a Piano Teacher

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.

Back to Discovery Page

A Symphony of Gratitude

Written By Ricardo Pozenatto

We would like to thank Ricardo Pozenatto for this tribute to his teacher, Diana Dumlavwalla. As we continue the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.

Diana Dumlavwalla with Ricardo Pozenatto after presenting at the Florida Music Education Association (FMEA).

In the world of music education, there are those who teach, and then there are those who inspire. Diana Dumlavwalla, my piano pedagogy mentor, dissertation advisor, and now colleague and friend is undoubtedly the latter—a guiding star in the constellation of my musical journey. With every word of wisdom, she has illuminated my path, making my pedagogy not just a skill but a lifelong commitment.

I first met Diana during a national conference of music teachers, and her grace and professionalism immediately set her apart from other teachers. Diana, who was not my teacher (yet) at that time, made sure I felt welcome to my first conference ever. She connected with the teaching community and introduced me to colleagues and friends. I knew then I was in the presence of a kind soul.

As the conference days passed by, I noticed that Diana was dear to so many in the teaching community. She was also respected and admired. After watching her presentation at the conference, I could feel nothing short but inspired, and at that moment, I realized where I wanted to be.

The decision was made. The following academic year, I started my doctorate, a piano pedagogy program at Florida State University, under the guidance of Diana, or should I say, Dr. Dumlavwalla back then. After three years of dedicated work, I graduated, and while I was sad to leave, I was extremely happy with my musical, professional, and personal growth, mostly thanks to her guidance and supervision.

Dumlavwalla and Pozenatto after a successful recital at Florida State University.
A picture taken before the Florida State University graduation ceremony.
Happy smiles while presenting together at the Florida Music Education Association.

Diana held my hands from the beginning to the end of the program, and especially during the COVID-19 pandemic (yes, I was a student during that world-changing event), she made sure all her students felt safe, protected, and psychologically healthy as we resumed our teaching assistant duties after the brief pause. For her, our mental and physical health were always a priority, and I am so grateful for that.

Diana is a special teacher. But what makes her so special? Diana possesses an uncanny ability to breathe life into her students, and I feel so privileged to be one of them. She imparts the secrets of a holistic approach to piano pedagogy with patience and kindness while also nurturing creativity and individuality in her students. True gifts, one may agree. She encouraged me to find my own voice, allowing my unique teaching personality to flourish. Her unwavering belief in my potential was (and is) a constant source of inspiration, driving me to push my boundaries and reach my highest goals.

Beyond all those admirable qualities, Diana acknowledges the human soul in every student. Her unwavering support and encouragement in times of personal self-doubt were a source of strength that helped me persevere through challenges, both in my music studies and in my personal life. I am indeed so grateful for that.

Diana has been my guiding light. She has been my safety harbor. She has always been my supporter. Now, we are friends and colleagues. We attend conferences together, we present in conferences together, and every time we connect over the phone, the hour-long conversation passes by quickly, filled with laughter and joy. Above all, we celebrate one another acknowledging that teaching is learning, and that learning is teaching.

Diana, I hope you realize how important you are for the lives of many. Be certain that the piano teaching community is more vibrant with you, and we are all grateful for that.

MORE ON THE POWER OF A PIANO TEACHER

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
The Power of a Piano Teacher

Ricardo Pozenatto, a native of Brazil, earned a PhD in Music Education with focus in Piano Pedagogy from Florida State University. He has presented at MTNA and NCKP conferences, and at Canadian and Brazilian conferences. Besides being a Coordinator of International Engagement at the Frances Clark Center, Ricardo also serves as the Florida State MTA Teacher Awards Chair.

Back to Discovery Page

Honoring Amy Merkley and Irene Peery-Fox

Written By Hyrum Arnesen

We would like to thank Hyrum Arnesen for this tribute to his teachers, Amy Merkley and Irene Peery-Fox. 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. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.

Irene Peery-Fox with her students.

Six months ago I had my last piano lesson. Leaving behind my student life has left me to ponder the monumental impact my piano teachers have had on my personal growth. During my childhood, youth, and young adult years, my piano teachers were constants amid continual change, ever-present mentors and friends. My teachers taught me more than music; they taught me diligence, determination, motivation, humility, and courage to face and overcome my fears. I appreciate them now not only because they are inspiring musicians but because they cared for me as a person. I would like to take this opportunity to tell you about my teachers Amy Merkley and Irene Peery-Fox. 

Amy Merkley taught me in her home from the time I started piano lessons at age 6 until I graduated high school. I can vividly remember learning the names of the piano keys in my first lesson with her over two decades ago – nervous and excited, feeling like I was a “big kid” taking piano lessons. Throughout our twelve years of lessons she instilled in me a deep love for music. Words that immediately come to mind are kindness, consistency, welcoming, and dedication.

In high school my lessons were at 6:00 a.m. every Monday morning. This taught me the value of consistent sacrifice. More importantly, it taught me that she really cared about me and my progress. Amy was always there, awake and ready to focus on me, my music, and my life.  

Amy Merkley with Hyrum Arnesen.
Irene Peery-Fox with Hyrum Arnesen.

Amy consistently inspired confidence in me. She taught without “bells or whistles” – few trinkets, cute awards, or flashy studio marketing. Instead she simply gave us opportunities to perform, prepared us well, and then our success motivated us to become better. Most lessons before competitions were filled with encouraging words recognizing how much I had improved. I still remember her first words right after playing for my fellow students days before my college audition – “Isn’t Hyrum going to do so great?” I hadn’t felt great about my performance, I was extremely nervous for my audition, but her faith in me gave me the confidence I needed. 

Irene Peery-Fox was my undergrad teacher. I not only studied with her for five years but also saw her interact with her pre-college students as I accompanied them for concerto competitions. When I began studying with her, I was completely intimidated; over the following years she became my most trusted mentor and one of my greatest friends. Dr. Peery-Fox had an incredible ability to motivate students. You simply did not let her down; you simply did not let yourself down. I remember many moments when I felt discouraged and she would look me in the eyes, raise a clenched fist, and say “Go for it, Hyrum!” 

Dr. Peery-Fox gave her students unwavering support. She was strict, exacting, detailed, and careful with praise yet she matched her intensity with the conviction that we could accomplish what she was asking. During lessons with pre-college students, I saw many tears of frustration, but I saw equal amounts of hugs, power fists, and “you can do it!.” As I looked forward with trepidation to a career in music, her faith in me imbued me with the confidence I needed to continue. 

Amy and Dr. Peery-Fox believed in me, supported me, engaged my musicality, and fostered my personal growth. I will forever be grateful for their influence and hope to pass on a piece of their legacy to my own students. 

MORE ON THE POWER OF A PIANO TEACHER

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
The Power of a Piano Teacher

Hyrum Arnesen is finishing a DMA from the Cincinnati Conservatory of Music while working as a Visiting Assistant Professor of music at Southern Virginia University. He is an active soloist, collaborator, and teacher with particular research interests in Argentine piano repertoire, building strong technique, and fostering motivation in students.

Back to Discovery Page

Thank you, Jane!

Written By Sara Ernst

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

Sara Ernst with Jane Magrath in 2019.

In my pedagogy classes, I often find myself encouraging my students to reflect on a teacher who helped them stretch to the next level and progress in ways they thought not possible. For me, this teacher was Dr. Jane Magrath. Before I began my doctoral studies at the University of Oklahoma, I had stepped away from pursuing degrees to develop myself professionally. It was a wonderful time to teach, work, and practice—on my own, without direct mentorship. Through this formative period, my confidence and self-reliance grew, but I also discovered gaps in my playing (and my knowledge) that were confounding puzzles to me. This led me to study at the University of Oklahoma, where Jane Magrath invited me to take lessons with her. 

What I discovered over those three years in Jane’s studio was an approach that I now seek to emulate: she holds all of her students to a high artistic standard, in a completely nurturing and consistently encouraging environment. At first this was foreign to me, to hear so frequently what my studio mates and I had done well! In addition to this, a particular philosophy was at the core of her teaching: observe and learn from the success of others as a model of growth for yourself. This was incredibly powerful to me because I suddenly felt like anything was possible. During my degree I reached a new level of artistry in performance, but as it happens while learning, I also had moments of difficulty. Dr. Magrath helped me celebrate the triumphs and always helped me focus forward, not dwelling upon the moments when I clearly needed more time to reach my potential. 

Jane Magrath with her students.

As important as the learning environment was to me, this overlooks the depth and precision in her teaching process. There was never a mystery to me on how to achieve a high standard or learn a new technique. I left every lesson with clear goals and strategies, and a recording of my lesson on a USB drive. The technical regime she assigned to me never stagnated. There was always a new idea, a next step, a harder version, another exercise—she was thoughtfully a step ahead of me. I devoured this routine! Over my first year, she helped me unlock so many technical mysteries that inform my teaching and playing today. I can say the same of our repertoire studies. Every lesson was filled with practice strategies and artistic principles that yielded consistent results. And that USB drive? She told me that this was a way to measure myself—to hear where I am today with my repertoire, and thus, to remind me of the next steps we explored in the lesson. 

As I entered my final semester in Oklahoma, I discovered a new link in my pianistic lineage—Marvin Blickenstaff was Jane’s teacher when she was a Master’s student at the University of North Carolina, Chapel Hill. During a meeting with her, I presented several dissertation ideas, one of which was studying the teaching of Mr. Blickenstaff. Dr. Magrath encouraged me in this direction. While I never studied piano directly with him, I feel that lineage deeply, and feel a profound gratitude—not only to Jane and Marvin, but also to this amazing life. Just recently, I have now found myself back at the University of Oklahoma and am reminded of the tremendous impact Jane has had on my life and the lives of a long line of former students, not to mention her profound impact on the profession. I treasure how we as pianists are connected through the music we play and the lessons we teach, through the power of music and the inspiration found at the piano. Thank you, Jane.

MORE ON THE POWER OF A PIANO TEACHER

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
The Power of a Piano Teacher

Sara Ernst, PhD, is an active pedagogue and pianist, and Associate Professor and Director of Piano Pedagogy at the University of Oklahoma in Norman. For the Frances Clark Center, she is Director of Teacher Engagement and leads programming for NCKP: The Piano Conference.

Back to Discovery Page

She Really Took a Chance on Me

Written By Asia Passmore

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

Asia Passmore performing at her second DMA recital, April 7, 2023.

Every teacher that I have been blessed to study with has taken a chance on me. But no one took a bigger chance on me than my very first piano teacher, Ms. Tamara.

I was one month away from turning 16 when I had my first piano lesson. I wasn’t new to music; I come from a very musical family, and my first instrument was trumpet, so I could read music). I had also played piano by ear my whole life. In fact, at the time I was learning Chopin’s Berceuse in D-flat Major, Op. 57 by ear, which is one of the main reasons my parents decided it was time for me to take lessons. 

They scheduled a trial lesson at the Sound of Music. I had always imagined playing the piano, and when I thought about what I wanted to do in college, I knew that I wanted to be a piano major.

When I got to my lesson, I told Ms. Tamara about my college plans. She could have told me things like “You started too late to think about majoring in piano.” But what did Ms. Tamara say? “Let’s do it.” So we did.

Audition season came quickly. My very first audition was in February of 2013 at the University of North Carolina at Pembroke (my alma mater). When the time came, I was excited, because I already knew that was my first choice. I spent the morning warming up, and then it was time for auditions in Moore Hall Auditorium. It was a pretty small music department, so the entire music faculty was there. They were all very nice and welcoming. 

And then I started playing. My audition repertoire was Mozart’s Fantasy in D Minor and Haydn’s Sonata in D Major, Hob. XVI:37. Everything went very well. I started with Haydn, and then the Mozart Fantasy. I also did some sight-reading and played my E-flat Major scale. And then it was over. 

Asia performing at NCKP 2023: The Piano Conference.
Asia at her junior recital.
Asia warming up before her senior recital at UNC-Pembroke.

About a month later, I found out that I was accepted! Ms. Tamara was very happy. 

At the Spring Recital in May, awards were being presented to students, including Student of the Year. I thought to myself, “It’s definitely not me because I just played the world’s worst Chopin Waltz.”

“The Student of the Year is Asia Passmore!” What? Really? 

“Asia came to us two years ago and said, ‘I want to major in piano in college.’ And she got into North Carolina. Because of her dedication, Student of the Year goes to Asia.” Whoa.

That little trophy is still sitting in my room to this day, and it’s a daily reminder of the support that Ms. Tamara poured into me. I would not be where I am today if I had a different teacher.

Because she really took a chance on me.

MORE ON THE POWER OF A PIANO TEACHER

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
The Power of a Piano Teacher

Asia Passmore is strongly passionate about including the works of African American composers on the concert stage and in the pedagogical canon. She is currently a DMA student at the University of Georgia studying piano performance with Dr. Liza Stepanova, and piano pedagogy with Dr. Peter Jutras and Dr. Grace Huang.

Back to Discovery Page

The Joy of Giving

Written By Heather Smith

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

As the year draws to a close, I find myself reflecting on how giving has profoundly influenced my life. I have experienced the joy, fulfillment, and transformation of being on both the receiving and the giving ends. The act of giving, whether through financial contributions, volunteering, or acts of kindness, has enriched my life in ways that are immeasurable. It has allowed me to connect and learn from inspiring individuals, and this has expanded and clarified my purpose.

In my journey through the world of music education and my experience with the Frances Clark Center, I have had the privilege of witnessing the incredible power of giving. My first encounter with the Frances Clark Center was as a subscriber to Clavier Companion, now Piano Magazine. I read an article by Scott Price that left a lasting impression on me. The article discussed how piano lessons can be more than just an educational experience for a student with disabilities. It was a powerful reminder of the broader impact music education can have on individuals.

One of the most significant moments in my teaching journey came when I had the opportunity to work with a student with cerebral palsy. This student, whom I adored, came to her piano lessons each week with unwavering enthusiasm and a radiant smile. She progressed at her own pace and motivated me to be a better teacher every week. She inspired me through her pure love for music.

This student struggled at school due to bullying and isolation from her peers. The world was a challenging place for her, but during our piano lessons, she found solace and a sense of belonging. She looked forward to her lessons because she loved music, and more importantly, she felt accepted and cared for.

It was through this experience that I truly grasped the significance of the Frances Clark Center. The magazine article helped me realize that the impact of music education goes far beyond the notes and the keys. It is a gateway to a brighter, more inclusive world for those who need it most.

The joy of giving lies in the transformation it brings to both the giver and the recipient. I am reminded of the inspiring words of Kathy Calvin, United Nations Foundation CEO, who said, “Giving is not just about making a donation. It is about making a difference.” The Frances Clark Center’s unwavering dedication to support piano teachers and students resonates with my own experiences and values in a profound way. Its sole purpose is to uplift and empower piano teachers, and I have seen this firsthand. 

As the Director of Development and Advancement for The Frances Clark Center, I have witnessed the tireless efforts put forth to support piano teachers and their invaluable work in shaping the lives of students.

Heather Smith
Director, Development and Advancement

What makes this journey even more enriching is hearing the countless testimonials from teachers whose lives have been touched by The Frances Clark Center. I have listened to their heartfelt stories, their triumphs, and their challenges. I am deeply moved by the impact this organization has had on their lives.

One teacher from the southwestern United States expressed that The Frances Clark Center is her lifeline to the music community. She described how isolated she has felt in her remote area, and that The Frances Clark Center’s programs are her only source of connection and professional development. This testimony, along with many others, underscores The Frances Clark Center’s significance. It has not only provided these educators with invaluable resources but also a sense of belonging to a broader community of like-minded individuals.

Recently, a long-time subscriber of Piano Magazine made the decision to continue making monthly donations even after she retired from active teaching. Her contribution directly impacts the sustainability of the publication for years to come. This type of giving reflects her belief in the core mission of The Frances Clark Center, which supports piano teachers who, in turn, make a transformative impact in the lives of their students and a positive impact in society.

As we approach the end of the year, I invite you to consider making a tax-deductible gift to The Frances Clark Center. Your generosity makes a significant difference in the lives of others, and is vital in helping us continue our mission.

The joy of giving comes from knowing that your contributions are making a profound difference in the lives of teachers and students. We are sincerely grateful for your support.

MORE ON THE POWER OF A PIANO TEACHER

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
The Power of a Piano Teacher

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.

Back to Discovery Page

The Power of a Piano Teacher

Written By Heather Smith

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

The teachers featured here are making profound contributions to students at all stages, from the youngest beginners, to college students, and to those who study later in life. These inspirational, personal stories testify of the timeless impact piano teachers have on their students and their communities. Join us by honoring your teacher today through the “Power of a Piano Teacher” campaign.

Kassandra Weleck honors Rebecca Casey from Lima, OH

When I was in high school, Rebecca Casey took me on as a piano student. Her energy, enthusiasm for piano/music, and 100% dedication to showing what music could be was absolutely captivating. She had unwavering faith in my success, no matter what I did, which gave me the confidence to go forward into music. I’m incredibly thankful that she said “yes” to being my teacher!

Jenel Dennen honors Sylvia Giura from River Forest, IL

As an extremely experienced performer and teacher, Sylvia has much knowledge, technique and musicianship to share. I am grateful for her incredible attention to detail and for teaching me to consider each note and how best to bring out the music in each phrase.

Valarie Beer with Lenora Brown
Teresa Lim
Rebecca Casey

Valarie Beer honors Lenora Brown from North Salt Lake, UT

Lenora has been such an inspiration to me, and I respect and appreciate her strong sense of work ethic and accomplishment. She has shown me what success really is, as it is not the first place prize, but the knowledge that the best performance is the one that you’ve learned from the most. She has inspired me multiple times to keep on going when things were tough, and this philosophy has carried over into my personal life.

Janice Cook honors Nancianne Parrella

Early in her career, Nancianne Parrella was the organist at Trenton’s First Presbyterian Church. She asked me to turn pages for her at the Sunday morning services. I was just in 6th grade, and it was alternately terrifying and thrilling to have that responsibility as an advancing piano student. The music was up so high and it was hard to sight-read the full score quickly. Plus, she was doing amazing things with her hands and feet. This experience had a huge impact on me – she was a fantastic role model.

Haemin Lalumia honors Teresa Lim from Princeton, NJ

Ms. Lim has been a wonderfully patient and kind teacher to our son. Her dedication and enthusiasm has helped him discover a deep love for piano in just a few short months. We are so grateful for her and for NSMS!

MORE ON THE POWER OF A PIANO TEACHER

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
The Power of a Piano Teacher

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.

Back to Discovery Page

Meet People Where They Are | Honoring Marvin Blickenstaff

Written By Karen Zorn

This week, Marvin is touring Colorado, Utah, and Nevada with staff from the Frances Clark Center. Is Marvin coming to a place near you? Check his tour schedule here: https://pianoinspires.com/marvin-blickenstaff-on-tour/.

Karen Zorn and Marvin Blickenstaff

It’s such an honor to write about my teacher and friend, Marvin Blickenstaff. I could tell a million stories about Marvin’s brilliance as a teacher and how much better a musician and teacher I am because of his teaching. But I suspect that many of you already know that side of Marvin and have stories of your own. So, I’d like to share a few stories that reveal what an amazing human being Marvin is and how my life is immeasurably better for knowing him.

It seems to me that this is how Marvin lives his life. Meet people where they are. I felt this acceptance from him right from our beginning days together as teacher and student.

There’s a phrase that is probably overused these days, but I like it—meet people where they are. It says so much and I think it is so needed in Music Education. With this one simple phrase—meet people where they are—we can leave behind our limiting thoughts about students: “not well-prepared enough,” “not talented enough,” “not good enough.”

I talk about this quite often in my current work, and I believe I learned this philosophy from Marvin. It seems to me that this is how Marvin lives his life. Meet people where they are. I felt this acceptance from him right from our beginning days together as teacher and student.

Marvin was never the distant teacher. Rather, he was in touch all the time. He had the most uncanny ability to sense when you needed help. Marvin used to knock on my practice room door, sometimes just to say hello and see how I was doing. Other times he’d say something like “Uh…just curious if you EVER practice slowly.”

The truth is, back in the day, I almost never practiced slowly, and Marvin knew it. I wasn’t alone. We all practiced fast. A lot. Except when we sensed that Marvin was nearby. And we were ALWAYS aware when Marvin was around. We felt it. Marvin’s aura would drift down the practice room hallway, much like when you spot a state trooper up ahead on the highway. One by one we slowed down to “tempo di studio.” Marvin’s presence was like a human radar gun. Metronomes came out of the closet and fingerings suddenly got sorted.

We all thought Marvin was amazing. The cool professor—you know, “with it.” Except in one way—his typewriter. A Royal Manual Deluxe with an industrial metal case and pica type—the kind that you had to hit with a hammer to get the keys to go down. The kind where if you missed a keystroke, your finger would get trapped in a subterranean encampment of thrashing metal. And while we kind of poked fun of Marvin’s typewriter, we secretly loved it. Before and after lessons Marvin could be heard, pecking away, writing letters—thank you notes to presenters who had hosted him, words of welcome to prospective students, congratulations to colleagues for their accomplishments. If any of you knew Marvin back then, you probably received a note written on the old Royal Manual.

Marvin Blickenstaff

Of course, he also used it to write to his students. He actually wrote us letters on a regular basis. They were usually words of encouragement: where he’d noticed big improvements in our playing, words of “well done” after a performance, or things he’d been thinking about as possible next steps for us. It meant so much to all of us to see the envelope in our mailbox with the initials “MB” scrawled in the upper left. It was such a gift.

So, here’s the thing: Marvin is never just someone’s piano teacher. It is never just about piano lessons. With Marvin, you get it all—the entire suite of attention, care, and love. He’s the Deluxe Edition piano teacher. When you study with him you get “the works.” He’s the all-inclusive, elite-level cruise, room with a view. The automatic upgrade. The executive platinum status. The super-size me, combo-platter piano teacher.

Marvin, I hope you know how grateful we all are to have you in our lives. We are immeasurably better for knowing you. 

The Marvin Blickenstaff Institute for Teaching Excellence

In 2023, the Frances Clark Center established the Marvin Blickenstaff Institute for Teaching Excellence in honor of his legacy as a pedagogue. This division of The Frances Clark Center encompasses inclusive teaching programs, teacher education, courses, performance, advocacy, publications, research, and resources that support excellence in piano teaching and learning. To learn more about the Institute, please visit this page.

We extend a heartfelt invitation to join us in commemorating Marvin Blickenstaff’s remarkable contributions by making a donation in his honor. Your generous contribution will help us continue his inspiring work and uphold the standards of excellence in piano teaching and learning for generations to come. To make a meaningful contribution, please visit our donation page today. Thank you for being a part of this legacy.

Donate Online
OTHER RESOURCES YOU MIGHT ENJOY
Back to Discovery Page

The Consummate Role Model for Piano Teachers | Honoring Marvin Blickenstaff

Written By Jane Magrath

Join us for our first webinar of the season titled “The Life Saving Work of Teachers,” presented by Marvin Blickenstaff on Wednesday, September 27, 2023 at 11:00am EDT. Click here to register!

Jane Magrath (author) and Marvin Blickenstaff

Naegeli van Bergen Metcalf was my first college piano teacher and a beloved mentor. She left Wesleyan College after my freshman year to get married, and we stayed in touch throughout the remainder of her teaching years. So, during my junior year, she was in touch and encouraged me to go to the University of North Carolina at Chapel Hill to study with her good friend from Indiana University for my master’s degree. He was a new young teacher, Marvin Blickenstaff, who had just joined the faculty there. We didn’t have the internet or publicity booklets from the department, but everything I heard sounded wonderful.

My audition date finally arrived in December 1971. The scuttlebutt had alerted me to the fact that noted pianist and author William S. Newman was on the musicology/piano faculty there and that I would need to play by ear for him in my interview and that Marvin Blickenstaff was debonair and handsome, and also a very kind individual. My interest was piqued. In preparation for the audition on that day, I warmed up on the stage of Hill Hall, working simultaneously to bolster my confidence. During some moments of concentrated warm up, the sought-after teacher himself walked briskly down the center aisle toward me and introduced himself. Yes, it was Marvin Blickenstaff, kind, affirming and encouraging, but absolutely nothing like I expected from the person I requested to be my next teacher. He turned out to be a pivotal piano instructor for me!

Marvin is a person with such a large heart, still capable of giving unimaginable inspiration to a piano student of any age, to piano teachers everywhere, to colleagues, or to anyone who needs a pep talk.

That day Mr. Blickenstaff and the other two male faculty, all three young and engaging, made me feel quite welcome, and Dr. Newman asked me to play “Home on the Range” in A-flat during my graduate school interview. Thus began a long and life-changing relationship with Mr. Blickenstaff and Dr. Newman, in the fall of 1972.

As an applied piano student between fall 1972 and spring of 1974, my lessons were filled with dedicated and inspired teaching, concern for my total well-being as well as my playing, laughter, a lot of detailed teaching, and a focus on listening, technique, and tone. At that juncture in time, Marvin was a young graduate of the Indiana University School of Music. My first semester repertoire was huge, I seem to remember it consisting of two full recital programs. All I knew was that it was a lot, and was I ever motivated. He held us to the highest artistic standards, and we rose to meet the bar he set.

He was motivated too, along with us. He taught long hours, and numerous extra lessons. We reveled in his discussions of Brahms’ piano music and Beethoven sonatas. His students became his family, and he and his wife, Sara Faye, treated us to dinners and parties in their lovely home. Our studio bonded, and many of us have remained close to this day, even after we spread all over the country.The Blickenstaffs lived close to campus, and it worked well for Marvin to ride his bicycle to school and back home each day, even on those dark nights after recitals and his late-night practicing. He was committed to his health, but even more committed to his students. For much of the time I knew him, the hour of his studio class was on “Friday at 4” and the meeting was set in stone, the highlight of our piano weeks. We loved playing for each other and grew to support our colleagues unconditionally.

An important message that I received from Marvin and his two equally engaging piano faculty colleagues was the importance of collegiality among a piano faculty. He, Michael Zenge, and Francis Whang were mutually supportive of each others’ playing and of all students within the piano department. It made for a strong and healthy model of collegial support among faculty members at a college or university, that permeated all three of the studios and the students’ philosophies as they eventually moved on and grew into faculty members and opened independent piano studios.

Marvin’s faculty recitals were “the” event of the season for his students and the piano community in Chapel Hill at large. Marvin walked briskly onto stage in a recital, smiling and greeting everyone warmly. His playing had them in the palm of his hands at the end of the first two lines of whatever was programmed. Listening to him play, one lost track of time in his beautiful and gripping performances! As you probably know by now, he still has the movie-star-like persona and presence.

In Chapel Hill, North Carolina I also had the chance to listen on occasion to his conversations with his inspiring colleagues Lynn Freeman Olson and Louise Bianchi as they wrote their legendary piano method Music Pathways.

Marvin Blickenstaff

I heard about the reading approach they used, their counting system, the off-the-bench activities they created for the children. What a distinguished trio of educators creating educational materials during their formative years! Thank you, Marvin, for sharing so much of yourself with all of us as students.

That was over forty years ago! Marvin moved away from Chapel Hill and continued to teach at Goshen College in Indiana. As that transition occurred, I came to know him as a quintessential workshop presenter. In essence, he was evolving into a national teacher of teachers, inspiring hundreds in his workshops—and there, too, he provided a strong influence on so many of us. It was his habit to stay in close touch with all of us, talking by phone, inspiring us, reminding us to be dedicated and work hard—as he always set the highest bar for all of us, all the while teaching a full load. Each year around Christmas, he would send a multi-page, inter-generational studio newsletter catching everyone up on his students and our colleagues’ “comings and goings.” It became a highlight of the season, catching up on the families, performances, locales, high and low points, and pulling us together still again as dedicated young professionals, now striving to make a difference in our own students’ lives. One could never have asked for a better role model.

As a teacher to this day, Marvin is a person with such a large heart, still capable of giving unimaginable inspiration to a piano student of any age, to piano teachers everywhere, to colleagues, or to anyone who needs a pep talk. His teaching, mentorship, and love for his students, colleagues, and for teachers throughout the profession is legendary. Dare I say thousands of teachers and students have been touched in the most positive ways by his kindness, thoughtfulness, talent, and selfless giving. Thank you, dear Marvin for being you and for nurturing the largest circle of friends, teachers, students, and colleagues imaginable throughout this country and all over the world! Thank you for always caring. And by the way, I imagine you probably still ride your bike daily, and I know you still practice late at night.

The Marvin Blickenstaff Institute for Teaching Excellence

In 2023, the Frances Clark Center established the Marvin Blickenstaff Institute for Teaching Excellence in honor of his legacy as a pedagogue. This division of The Frances Clark Center encompasses inclusive teaching programs, teacher education, courses, performance, advocacy, publications, research, and resources that support excellence in piano teaching and learning. To learn more about the Institute, please visit this page. We invite you to make a donation in honor of Marvin’s 88th birthday (May 19).

OTHER RESOURCES YOU MIGHT ENJOY
Back to Discovery Page

Hats Off to You, George! | Honoring George Litterst

Written By Piano Inspires

George Litterst is a recipient of the 2023 Frances Clark Center Lifetime Achievement Award. His extensive contributions to the field of piano pedagogy are extraordinary and exemplify outstanding dedication to the field of music and piano teaching. The Frances Clark Center Lifetime Achievement Award is the highest honor and is presented on behalf of the Frances Clark Center to individuals who have made substantial and enduring contributions to the field of piano pedagogy and to the work of the Center.

Join us at NCKP 2023: The Piano Conference in Lombard, Illinois for a Gala champagne reception and awards ceremony on Friday, July 28 from 6-8:30pm to celebrate our 2023 Lifetime Achievement Award winners.

Thank you to Evan, Bradan, and Meme for your contributions to this post.

Testimonial by Evan, age 13

I began taking lessons with George four years ago after my brother and I received a piano for Christmas. Throughout these past four years, he has taught me the tips and tricks of the piano, how to play with both hands together, and how to perform more advanced music than I ever thought I could play.

George is a fun teacher and not only teaches me music, but the history and facts about the artist we are learning. He also teaches about the function of the piano itself. He is interested in our lives outside the piano too. We talk about Lego building, 3D printing, school events, and even TV shows.

When the COVID virus struck, George was able to continue teaching us remotely on his apps (MIDI and Classroom Maestro), which helped us to continue our learning during that time.

One of the most memorable moments of our lessons was when George had me record a piece of music, and then he sent my recording to the composer, Paul Sheftel. Then George set up a meeting with Paul over Zoom and we talked about playing his music. It was an exciting moment for me.

George has helped me appreciate music and because of his style of teaching, I want to continue learning.

Testimonial by Bradan, age 11

In four years, George has helped me learn to read music so I can play the piano, and this has also helped me learn how to play xylophone, marimba, and trombone.  

He likes talking about other things besides music such as school, band, Legos, and animals.  He has taken my brother and I on “field trips” in his house to show us different instruments and has let us play them too. His field trips are always fun.

George asks us to pick a piece of music we would like to learn, and he finds the music for it, which is something I enjoy a lot. George is nice and silly sometimes too; he doesn’t get mad and is patient when we are learning.

I have learned a lot from George over the years and he makes it fun to learn the piano.

Testimonial by Meme

When I was very young, I took piano lessons and loved the experience, but life got very busy for me and I stopped playing at age eleven. I recently retired and I wanted to return to playing the piano, but it had been at least fifty years since my last lesson, so I felt intimidated about this undertaking. George Litterst came into my life and he brought back my appreciation of music and he gave me the confidence to start playing the piano again. Hats off to you, George!

George knew I had some musical background and experience, and he adjusted the level of instruction so I felt comfortable taking lessons again. After hearing me play the piano and listening to some of my concerns about my ability to play pieces after my hand surgery, George taught me techniques to further my finger dexterity and he made me more aware about relaxing my hands so I could enjoy the piano and further develop my skills in playing. He has been very patient and encouraging, and he seems to know when to challenge me. Besides instructing me on music theory, he shows me how to analyze a new piece and different ways to practice to improve my skills. He also shares historical knowledge about composers, music, and the piano.

On top of George’s wealth of musical knowledge and his talent as a pianist, George has worked with a team to develop software to help students learn to play a variety of pieces. He has taught me how to use this program, which has helped me tremendously in furthering my skills in playing the piano.

George is very dedicated to helping others enjoy music and play pieces to the best of their ability. He is thoughtful and adapts his lessons to his students, their interests, and their abilities. His lessons are fun and I look forward to continuing our work to improve my ability as a pianist.

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. Together, we will further amplify the meaningful work of our noble profession.

QUICK LINKS FOR NCKP 2023: THE PIANO CONFErENCE
OTHER RESOURCES YOU MIGHT ENJOY
Back to Discovery Page

The Consummate Role Model for Piano Teachers | Honoring Marvin Blickenstaff

Written By Jane Magrath
Jane Magrath (author) and Marvin Blickenstaff

Naegeli van Bergen Metcalf was my first college piano teacher and a beloved mentor. She left Wesleyan College after my freshman year to get married, and we stayed in touch throughout the remainder of her teaching years. So, during my junior year, she was in touch and encouraged me to go to the University of North Carolina at Chapel Hill to study with her good friend from Indiana University for my master’s degree. He was a new young teacher, Marvin Blickenstaff, who had just joined the faculty there. We didn’t have the internet or publicity booklets from the department, but everything I heard sounded wonderful.

My audition date finally arrived in December 1971. The scuttlebutt had alerted me to the fact that noted pianist and author William S. Newman was on the musicology/piano faculty there and that I would need to play by ear for him in my interview and that Marvin Blickenstaff was debonair and handsome, and also a very kind individual. My interest was piqued. In preparation for the audition on that day, I warmed up on the stage of Hill Hall, working simultaneously to bolster my confidence. During some moments of concentrated warm up, the sought-after teacher himself walked briskly down the center aisle toward me and introduced himself. Yes, it was Marvin Blickenstaff, kind, affirming and encouraging, but absolutely nothing like I expected from the person I requested to be my next teacher. He turned out to be a pivotal piano instructor for me!

Marvin is a person with such a large heart, still capable of giving unimaginable inspiration to a piano student of any age, to piano teachers everywhere, to colleagues, or to anyone who needs a pep talk.

That day Mr. Blickenstaff and the other two male faculty, all three young and engaging, made me feel quite welcome, and Dr. Newman asked me to play “Home on the Range” in A-flat during my graduate school interview. Thus began a long and life-changing relationship with Mr. Blickenstaff and Dr. Newman, in the fall of 1972.

As an applied piano student between fall 1972 and spring of 1974, my lessons were filled with dedicated and inspired teaching, concern for my total well-being as well as my playing, laughter, a lot of detailed teaching, and a focus on listening, technique, and tone. At that juncture in time, Marvin was a young graduate of the Indiana University School of Music. My first semester repertoire was huge, I seem to remember it consisting of two full recital programs. All I knew was that it was a lot, and was I ever motivated. He held us to the highest artistic standards, and we rose to meet the bar he set.

He was motivated too, along with us. He taught long hours, and numerous extra lessons. We reveled in his discussions of Brahms’ piano music and Beethoven sonatas. His students became his family, and he and his wife, Sara Faye, treated us to dinners and parties in their lovely home. Our studio bonded, and many of us have remained close to this day, even after we spread all over the country.The Blickenstaffs lived close to campus, and it worked well for Marvin to ride his bicycle to school and back home each day, even on those dark nights after recitals and his late-night practicing. He was committed to his health, but even more committed to his students. For much of the time I knew him, the hour of his studio class was on “Friday at 4” and the meeting was set in stone, the highlight of our piano weeks. We loved playing for each other and grew to support our colleagues unconditionally.

An important message that I received from Marvin and his two equally engaging piano faculty colleagues was the importance of collegiality among a piano faculty. He, Michael Zenge, and Francis Whang were mutually supportive of each others’ playing and of all students within the piano department. It made for a strong and healthy model of collegial support among faculty members at a college or university, that permeated all three of the studios and the students’ philosophies as they eventually moved on and grew into faculty members and opened independent piano studios.

Marvin’s faculty recitals were “the” event of the season for his students and the piano community in Chapel Hill at large. Marvin walked briskly onto stage in a recital, smiling and greeting everyone warmly. His playing had them in the palm of his hands at the end of the first two lines of whatever was programmed. Listening to him play, one lost track of time in his beautiful and gripping performances! As you probably know by now, he still has the movie-star-like persona and presence.

In Chapel Hill, North Carolina I also had the chance to listen on occasion to his conversations with his inspiring colleagues Lynn Freeman Olson and Louise Bianchi as they wrote their legendary piano method Music Pathways.

Marvin Blickenstaff

I heard about the reading approach they used, their counting system, the off-the-bench activities they created for the children. What a distinguished trio of educators creating educational materials during their formative years! Thank you, Marvin, for sharing so much of yourself with all of us as students.

That was over forty years ago! Marvin moved away from Chapel Hill and continued to teach at Goshen College in Indiana. As that transition occurred, I came to know him as a quintessential workshop presenter. In essence, he was evolving into a national teacher of teachers, inspiring hundreds in his workshops—and there, too, he provided a strong influence on so many of us. It was his habit to stay in close touch with all of us, talking by phone, inspiring us, reminding us to be dedicated and work hard—as he always set the highest bar for all of us, all the while teaching a full load. Each year around Christmas, he would send a multi-page, inter-generational studio newsletter catching everyone up on his students and our colleagues’ “comings and goings.” It became a highlight of the season, catching up on the families, performances, locales, high and low points, and pulling us together still again as dedicated young professionals, now striving to make a difference in our own students’ lives. One could never have asked for a better role model.

As a teacher to this day, Marvin is a person with such a large heart, still capable of giving unimaginable inspiration to a piano student of any age, to piano teachers everywhere, to colleagues, or to anyone who needs a pep talk. His teaching, mentorship, and love for his students, colleagues, and for teachers throughout the profession is legendary. Dare I say thousands of teachers and students have been touched in the most positive ways by his kindness, thoughtfulness, talent, and selfless giving. Thank you, dear Marvin for being you and for nurturing the largest circle of friends, teachers, students, and colleagues imaginable throughout this country and all over the world! Thank you for always caring. And by the way, I imagine you probably still ride your bike daily, and I know you still practice late at night.

The Marvin Blickenstaff Institute for Teaching Excellence

In 2023, the Frances Clark Center established the Marvin Blickenstaff Institute for Teaching Excellence in honor of his legacy as a pedagogue. This division of The Frances Clark Center encompasses inclusive teaching programs, teacher education, courses, performance, advocacy, publications, research, and resources that support excellence in piano teaching and learning. To learn more about the Institute, please visit this page. We invite you to make a donation in honor of Marvin’s 88th birthday (May 19).

OTHER RESOURCES YOU MIGHT ENJOY
Back to Discovery Page
Search
piano inspires logo, black with colored stripes in the tail of the piano