In this issue
Keyboard Companion Spring 1992; Vol. 3, No. 1
Describe Your Own Home Practice. Why Do You Do It?
From the series, The Other Teacher: Home Practice By Elvina Pearce In all previous issues, this department has dealt with student practice. In this issue, we focus…
Keyboard Companion Spring 1992; Vol. 3, No. 1
How do you adjust your teaching to accommodate each student’s preferred mode of sensory perception?
Joyce Cameron, Editor It has been said that one picture is worth a thousand words. However, recent developments in understanding individual differences in learning styles, and…
Keyboard Companion Spring 1992; Vol. 3, No. 1
How do you work piano lessons and piano practice into your daily schedule?
Brenda Dillon, Editor It is not uncommon for teachers to hear "I wish I could play the piano," or "I wish my mother had not let…
Keyboard Companion Spring 1992; Vol. 3, No. 1
How do you teach a student to communicate when performing?
Martha Appleby, Editor We have all sat through countless hours of student recitals or judged "all day" Festivals of Sonatinas, or Baroque, or Mozart, or Jazz…
Keyboard Companion Spring 1992; Vol. 3, No. 1
What Devices Do You Use in Your Studio to Teach Technique?
Steven Roberson, Editor After discussing this issue's question with my good friend, Bill Hughes, from the Indiana State University piano faculty, we decided to expand it…
Keyboard Companion Spring 1992; Vol. 3, No. 1
Why Do You Use Meter Counting With Your Beginners?
Marvin Blickenstaff, Editor If one had the magical capability of stepping back in time and observing an elementary piano lesson one hundred years ago, the teaching…
Keyboard Companion Spring 1992; Vol. 3, No. 1
What Are Some Careers for Musicians in the Music Industry? — Part II
Madeleine Crouch, Editor In the last issue, I shared some stories from musicians I've met from the music industry who have built multi-faceted careers. The common…
Keyboard Companion Spring 1992; Vol. 3, No. 1
How do you teach students to read music patterns rather than note-by-note?
Richard Chronister, editor We are all aware that when composers create music, the way they group notes together is important to understanding the meaning of that…
Keyboard Companion Spring 1992; Vol. 3, No. 1
Why do you have an ethics policy for your studio?
Cathy Albergo, editor After attending music conventions and various workshops during the past year, I was interested in how frequently I heard discussions about ethics policies…
Keyboard Companion Spring 1992; Vol. 3, No. 1
Tomorrow Today: Technology – What Is Your Favorite Use of Computers in Your Studio?
What Is Your Favorite Use of Computers in Your Studio? Marguerite Miller, Editor Do you need an assistant teacher—someone to help with the drudgery of drills…