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Engaging the Brain: Practice Tips from an Interview with Spencer Myer

Written By Barbara Fast, Spencer Myer

We would like to thank Barbara Fast and Spencer Myer for this insightful interview on practice. Want to learn more about practicing? Register for the free webinar, “#100daysofpractice: Selection and adaptation of self-regulated learning strategies in an online music performance challenge” presented by Camilla dos Santos Silva and Helena Marinho, hosted by Alejandro Cremaschi on November 29. Learn more and register here: https://pianoinspires.com/webinar/11-29-23-webinar/.

I attended Spencer Myer’s practicing workshop at the NCKP 2019 Conference. His emphasis on engaging the brain in variable practice techniques sparked my interest and supports research on how we learn. I thought I knew every possible practice suggestion, but Spencer presented and demonstrated many new and unusual ideas that he was using in practicing and teaching. I found myself using the notes I had taken for my own practicing workshops and classes, and knew I needed a concrete way to share his tips with other musicians. I interviewed Spencer Myer on February 2, 2020, as a way to share his thoughts on practicing with piano teachers throughout the world. The article is the essence of our interview together.

Barbara Fast: What prompted your interest in the topic of practicing?

Spencer Myer: I discovered the practice techniques that I’ll be discussing during the period of my life when I was entering competitions. I was practicing with the intent of complete cleanliness and solidity. I thought, “how am I going to get to the point where I can walk on stage and not be afraid of having a memory slip?” I started to explore what seemed at a time to be different, crazy, and random practice techniques.

BF: What are your foundational ideas about practicing for performance?

SM: I feel that our memory is made up of 80% muscle memory and 20% other memory. Of course, playing an instrument is physical, so muscle memory has to be part of the equation. We are all human; memory slips happen for everyone, and relying on muscle memory from hours of repetition can be an aid to get through a memory slip. But strengthening our brain, getting away from relying only on muscle memory, that other 20%, is where we find the mental solidity that we’re going for in a performance.

BF: Strengthening the brain: how does that help you go beyond muscle memory?

SM: The point about muscle memory is that studies have shown it’s impossible for our brains to multitask; we can’t think about two things at once. Removing muscle memory, taking it away in our practice, increases the brain’s involvement in our memory. The idea is how to make the passage feel different or foreign to our body so that our brain is forced to engage.

BF: What’s your first practice tip for changing physical sensation in the body?

SM: The most obvious example for changing physical sensation is slow practice. It’s a useful tool for drilling and refining minor muscle motions that we are required to use with great speed in performance. Slow practice is often viewed as a tedious or brainless exercise that our teachers tell us to do. Actually, it really engages the brain, because it deviates from the repetition we are so used to. Practicing the music in a way that feels physically different—slowly, or with inconsistent tempos—that is the key.

BF: Practicing with inconsistent tempo – that’s an unusual idea.

SM: Inconsistent tempo is something that I often utilize in practice. It’s similar to slow practice because inconsistency forces the brain to think about every next note more consciously. Changing tempo also allows us to practice in a much more improvisatory way. It’s much more fun and propels exploration of phrasing and musical intent, which further engages the brain.

BF: Do you also use alternating rhythm practice?

SM: Alternating rhythms is something we tell our students to do and it can often be mindless. But, I think it’s a great exercise for the brain because it’s a huge changeup. For me it works best with challenging sections, such as scales and arpeggios in the repertoire. The basic idea is utilizing dotted rhythms, and their reverse, in place of even rhythms. Triplets and groups of four notes can also be performed, with length added to any chosen note of each group. These alternating rhythms can be random or much more regular. But again, it’s the extreme change in physicality that engages our brain that is important.

If you enjoyed this excerpt from Barbara Fast and Spencer Myer’s interview “Engaging the Brain: Practice Tips from an Interview with Spencer Myer,” you can read more here: https://pianoinspires.com/article/engaging-the-brain-practice-tips-from-an-interview-with-spencer-myer/.

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Barbara Fast is Piano Chair and Director of Piano Pedagogy, coordinates the group piano program and teaches graduate piano pedagogy at the University of Oklahoma. An active workshop clinician, she co-founded the Group Piano/Piano Pedagogy (GP3) Forum. She is the co-author of iPractice: Technology in the 21st Century Music Practice Room.

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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.

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

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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.

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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.

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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. 

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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.

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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.

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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.

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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.

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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.

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Peer Connections: Reflections on Bridging into the Professional Life

Written By Carla Salas-Ruiz, Curtis Pavey, Karen Yong

The Frances Clark Center is excited to launch Peer Connections, a virtual gathering of young professionals to engage with relevant topics and develop a global network of peers. The first Peer Connections: Bridging into the Professional Life will be held on Friday, November 17, 2023, 6:00-7:30 PM EST. Join us as professionals in our community share their experiences and insights into their transition from graduate study to their first university jobs. Register here.

Insights From the Past: What I Wish I Knew Three Years Ago | Carla Salas-Ruiz

Three years ago, in November 2020, grad school was a roller coaster of ups and downs for all of us. Reflecting on that time, what I wish I had known is how unpredictable life can be. It’s completely acceptable to take your time in figuring out your goals and career path, even if it means deviating from the conventional route. Whether you’re inclined to set up your own studio, work as a piano collaborator, or pursue the academic route, understanding the specifics of each role is crucial. For instance, if academia is your inclination, it’s crucial to distinguish between assistant and associate professor roles, understand university rules and requirements, and thoroughly contemplate the implications for that specific professional trajectory. In a nutshell:

Carla Salas-Ruiz
  • Diversify your skill set: demonstrate expertise in various areas relevant to your desired goals.
  • Seek mentorship: cultivate meaningful connections and seek guidance from mentors for valuable insights.
  • Be honest about knowledge: acknowledge gaps in knowledge while celebrating areas of expertise.
  • Explore career paths: whether considering a private studio or academia, delve into the nuances of each path.
  • Question long-term commitment: reflect on the commitment required for a specific path and consider exploring diverse experiences before making definitive choices.

Transitioning to Faculty | Karen Yong

My sharing will reflect on my transformative journey of transitioning from a student to a faculty member over the past two years. It will outline two key adjustments: embracing a new role, where the complexities of faculty responsibilities, time management, and becoming an expert in the field are navigated; and coping with diverse student needs, necessitating adaptable teaching approaches and empathy. The challenges faced included balancing multiple responsibilities, requiring careful time management; and addressing the changing educational landscape, marked by the incorporation of technology and contemporary music genres.

Karen Yong

Lessons Learned from the Job Search | Curtis Pavey

When I first began applying to academic positions, I did not fully comprehend the challenges I would face, but through these trials, I learned so much about academia, the field, and myself.  One of the most important realizations I had was that each university searches for a specific person to fill each role, and sometimes job descriptions and interview questions fail to reveal these. As the rejection letters began to pile up over time, I discovered that it was okay to not be the right person for a position, and that I was no less a musician, educator, or person because of it. While researching positions, I also learned how different music programs across the country serve the needs of their various communities. Through this experience, I clarified my vision for music education and the ways in which I could best serve in the future. I further discovered that I needed to believe in myself unapologetically, even when I perceived myself as underqualified or inexperienced. While I continue to develop my career goals, I feel grateful for the ways in which this journey challenged me to become a better educator and advocate for the arts.

Curtis Pavey

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Dr. Karen Kai Yuan Yong is a Malaysian pianist and educator. She currently holds the position of Assistant Professor of Music at Albany State University, where she teaches applied piano, group piano, keyboard pedagogy, and music theory.

Dr. 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.

Dr. Curtis Pavey is a pianist, harpsichordist, and educator serving as Assistant Professor of Piano Pedagogy and Performance at the University of Missouri. He also serves as Manager of Online Publications at the Frances Clark Center for Keyboard Pedagogy.

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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.

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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.

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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!

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

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Journal of Piano Research: Interview with Pamela Pike and Alejandro Cremaschi

Written By Pamela Pike, Alejandro Cremaschi

The Co-Editors-in-Chief of Journal of Piano Research, Dr. Pamela Pike and Dr. Alejandro Cremaschi, recently answered some questions about the new Journal of Piano Research. Find out more about the journal below and go to journalofpianoresearch.org/ to learn more about this new publication!

1. Why did you decide to develop the Journal of Piano Research?

We decided to create the Journal of Piano Research (JPR) to provide a publication venue for high-quality scholarly research focused on piano teaching, learning, and performance. We also wanted to gather an editorial board of experienced researchers from different parts of the world. We are thrilled that so many outstanding researchers joined our editorial board. While there are many excellent music research journals in the field, we noticed that none of them focuses specifically on the piano. Although some of the research we conduct on piano teaching and learning is transferable to other instruments, often it doesn’t fit within the parameters of music education journals because of its specificity. Our goal is to make JPR the premier venue for excellent piano-related research.

2. Who is the intended audience of this journal?

This journal is for everyone interested in piano teaching, learning, and performing from a research perspective! This includes independent teachers, performers, college faculty, and collegiate students. We believe that the field at large will benefit from a publication that focuses on high-quality, empirical research on piano-related topics.

3. What kinds of submissions are appropriate for submission/review?

We seek submissions of original scholarly research related to piano playing, teaching, and learning. We encourage reports on projects conducted in a wide variety of methodologies, including quantitative, qualitative, mixed-methods, historical, and philosophical approaches.

Dr. Pamela Pike, Co-Editor-in-Chief
Dr. Alejandro Cremaschi, Co-Editor-in-Chief

4. When will the first articles be published?

Like all top-tier research journals, JPR will publish articles online as soon as they are accepted by the editorial board and edited. We hope to begin publishing “online first” articles in Spring 2024 and to release the first full print issue in Autumn 2024. Subsequent full issues will be released annually, but the journal will continue publishing “online first” articles as they are accepted.

5. What advice would you give to someone interested in submitting a manuscript for review?

In general, submissions are expected to follow accepted practices and approaches of scholarly empirical or historical research, and be grounded on sound methodologies. While there is value in reviews of the literature and articles based on personal or professional experience, there are other venues that would be a better fit for those types of manuscripts, including the Piano Magazine and Piano Pedagogy Forum. Read high-quality research articles related to piano and music education to become acquainted with tone and methodological procedures. Seek advice from a research mentor as you prepare your research project and subsequent article and be sure to check out the archived research webinars from the Frances Clark Center.

Go to journalofpianoresearch.org/ to learn more about this new publication!

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Pamela D. Pike is the Spillman Professor of Piano Pedagogy and Associate Dean of Research at Louisiana State University. As an active researcher of pedagogical topics, she is a sought-after speaker and clinician. Pike has published articles, book chapters and full-length books, and is editor-in-chief of the Piano Magazine.

Alejandro Cremaschi is Professor of Piano Pedagogy at the University of Colorado Boulder. His research areas include pedagogical technology and Latin American music. He has recorded for the labels IRCO, Ostinato, Marco Polo and Meridian Records. His pedagogical edition and publication of Alberto Ginastera’s Doce Preludios Americanos for piano was published by Carl Fisher in 2016.

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Journal of Piano Research Invites Submissions

Written By Piano Inspires

PRESS RELEASE: 6 NOVEMBER 2023

The Frances Clark Center for Keyboard Pedagogy is pleased to invite submissions for the Journal of Piano Research, a new peer-reviewed research journal.

The Journal of Piano Research fills the need for a high-quality source of research articles dedicated to piano teaching, learning, and performance. The journal is an international, peer-reviewed publication promoting the exploration, discussion, and dissemination of high-level research that will advance professional practice and scholarship.

The Journal of Piano Research invites submissions of scholarly manuscripts based upon completed empirical research conducted through a variety of scientific methodologies, including quantitative, qualitative, ethnographic, historical, and philosophical methods.

Editorial Committee:
Pamela Pike – Co-Editor-in-Chief, United States

Alejandro Cremaschi – Co-Editor-in-Chief, United States

Gilles Comeau, Canada

Leah Coutts, Australia

Carla Davis Cash, United States

Diana Dumlavwalla, United States

Charlene Ryan, Canada

Carla Salas-Ruiz, United States

Cynthia Stephens-Himonides, United Kingdom

George Waddell, United Kingdom

Brenda Wristen, United States

Betty Anne Younker, Canada

Katie Zhukov, Australia


To learn more about the Journal of Piano Research or to submit a manuscript, please visit journalofpianoresearch.org/.

Recollections with Robert Weirich

Written By Robert Weirich

We would like to thank Robert Weirich for his insightful commentary regarding his latest book, Recollections: A Pianist’s Essays on Teaching, Performing, and Living. Order Recollections: A Pianist’s Essays on Teaching, Performing, and Living, by Robert Weirich NOW and enjoy a 20% off launch discount. Use code WEIRICHLAUNCH20 at checkout. Learn more and purchase here: https://pianoinspires.com/recollections-by-robert-weirich/.

I guess you could say that my pandemic project was to go back through my writings for Clavier and other journals and see if there was a viable book in there waiting to surface. I had two fears—first, that the subject matter would seem dated and no longer of interest to musicians of the twenty-first century. After all, I started “The View from the Second Floor” in 1984—yikes, that was almost forty years ago! And that leads to the second fear—no one will remember these writings that, in their time, led many readers to say they turned to this column first when the magazine arrived. But in 2021, when MTNA president Martha Hilley introduced me via Zoom to introduce convention artist Awadagin Pratt (a former student), she said exactly that, citing chapter and verse. She also admitted that she kept boxes of the old magazines just to occasionally revisit a piece she liked. 

Done! I think I started the project the next day.

Happily, I found that the subject matter held up, since most often I was writing about the constants of artistry and learning, values that don’t change. I ended up choosing ninety-one essays written between 1981 and 2016 and arranged them by subject matter into fifteen large sections. There is new writing as well, often giving background on what inspired the essay in the first place. Some of the essays did not appear in Clavier. One I particularly like is called “Zen and the Art of Piano Study” which appears in a section called “Foundations.” The sixteenth section is also new, entitled “The Next Chapter,” and takes a stab at considering the future of our profession. To my amazement, the book clocks in at 394 pages. Happily, it can be read in short bursts.

As for readers remembering me, well, perhaps that is the price of living into my seventies while most of the profession is a generation or two younger! I realize I am no longer the youngest teacher out there, but some of the ideas posited in my writing urged change and questioned tradition, and those questions remain. An underlying theme in the book constantly asks is what we do relevant, is a life at the piano sustainable for anyone who is not a superstar performer? Since most of us don’t qualify as globe-trotting virtuosi, I think the book has more than a little pertinence to those entering college music study, those beginning careers, and those wondering twenty years later what they’ve been doing. When I wrote the columns, these were the readers I imagined. I’m very happy to have all the columns available in one place, thanks to the Frances Clark Center’s publication of Recollections: A Pianist’s Essays on Teaching, Performing, and Living.

Recollections: A Pianist’s Essays on Teaching, Performing, and Living by Robert Weirich

I conclude with an excerpt from the foreword to the book, written by Mark Wait, pianist and dean emeritus of the Blair School of Music at Vanderbilt University. For this blog I was asked to say what the book is about. Mark’s foreword does it better than I can:

“The book you are holding could be called The Making of a Musician’s Life. It is an inspiring memoir, a musical and intellectual autobiography.  Here we find themes we will all recognize–the importance of various teachers over a lifetime of learning, encounters and events (planned or not) that change our lives.  Many of us will be especially grateful to Weirich for his loving attention to his earliest teachers. 

“But this book is much more than a memoir or a collection, for it recounts the changing musical and cultural landscape of the past half-century. Weirich has a broad vision, and he casts a wide net. We hear his thoughts, always carefully considered and often provocative, on artistic and educational values, and the place of the arts in our society.

“In all of these issues, Weirich holds up a mirror to our cultural institutions. And to himself, for some of his views and opinions have changed during his fascinating and multi-faceted career. We share his struggles as he considers the future of an art form to which he has dedicated his life.”

Join the Frances Clark Center to celebrate the launch of our newest book, Recollections: A Pianist’s Essays on Teaching, Performing, and Living by Robert Weirich. This Zoom event will be held on Wednesday, November 15, 2023 from 11:00 AM to 12:00 PM Eastern Time. Party host Chris Madden will introduce author Robert Weirich. Time to mingle with the author and fellow pianists and teachers will follow. Free registration, RSVP today: https://pianoinspires.com/event/publications-launch-party-recollections-by-robert-weirich/.

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From the Archives: How Do You Teach Students to Plan Fingering?

Written By Bruce Berr

Quer saber mais sobre dedilhado? Inscreva-se no nosso webinar internacional gratuito, “ A dedilhação como elemento de expressividade na performance pianística” apresentado por Luis Pipa no dia 4 de novembro. Saiba mais e inscreva-se aqui: https://pianoinspires.com/webinar/11-04-23-webinar/.

The following contribution from Bruce Berr appeared in an article edited by Richard Chronister titled “How Do You Teach Students to Plan Fingering” from Keyboard Companion, Spring 1995, Vol. 6, No. 1. The entire article is found here: https://pianoinspires.com/article/how-do-you-teach-students-to-plan-fingering/.

The teacher must consider the skills that the student has already mastered…

The most important fingering idea that beginners must learn is that five fingers fit conveniently over five adjacent keys. This basic “prime directive” of fingering provides the rule while students begin to experience elaborations on this principle. A crossover is usually the first kind of shift that might make the student think that the five-finger idea is no longer operative. I teach students to feel a crossover not as a finger reaching for a key but rather as a smooth rollover from one five-finger position to a different one; it is important that the entire hand move into place as the crossover happens. An effective way to guarantee this is to have the student insert a practice pause while holding the crossover note. This allows the hand to comfortably feel a new five-finger position before playing is resumed:

What is temporarily sacrificed by this rhythmic interruption is more than compensated for by a fluid, relaxed motion. When students first do crossovers, I’m pleased when the music has the finger cue written in for the crossover note and for the note that immediately follows it so that the idea of having moved into a new five-finger position is communicated. I also hope that there are no more finger numbers written in if all of the notes in that phrase already fall comfortably under the fingers because those would be unnecessary and therefore detrimental. Only essential finger cues should be in the student’s music; if extraneous ones are allowed to remain, students eventually learn to ignore all fingerings, even the good ones. 

Which fingerings should remain in the score becomes more complex at the mid- and late-elementary levels. As teachers of this music, we must constantly “read between the lines” to interpret what is meant and what is not meant by a given fingering. I frequently struggle with this problem as a composer and arranger of educational piano music, due to an unavoidable fact: all fingering cues imply a certain approach to technique and teaching. Therefore, an educational author has at least three possible choices: 1. Indicate fingerings that represent the easiest possible physical approach; or 2. Indicate fingerings that represent the easiest possible conceptual approach; or 3. Indicate no fingerings at all. 

When (1) and (2) are the same fingering there is no problem, but frequently they are not the same, so a choice must be made. Any fingering that a composer or editor indicates tends to unwittingly favor one approach over another. For example, in this elementary excerpt from Eency, Weency Spider, the student gets to play a fun, short chromatic fragment in a piece that is predominantly in five-finger positions elsewhere. The printed fingerings are the easiest from a conceptual standpoint, because the keys are next to each other and so are the fingers that play them; this is an important idea to reinforce at this level. The given fingering also encourages the student’s hand to, well, “walk like a spider”!

“Eency, Weency Spider” from Animal Songs

I also considered the following fingering: 1-3-1-3-1-3-1. This fingering is better from a physical standpoint because it invites greater participation of the entire hand and forearm in rotating, and thus it produces a freer and more balanced gesture. However, this fingering contradicts our “prime directive” by using non-adjacent fingers on keys that are as adjacent to each other as can be; thus, it may set back our work with students who have needed reminding about fingering in five-finger positions. I could have also indicated no fingering at all in this passage. This would make it convenient for each teacher to use his or her own fingering without having to leave behind a trail of blackened splotches on the page. If a child were learning this piece without the benefit and guidance of a teacher, however, an absence of fingering hints might breed all kinds of indecent fingerings not fit to print here!

Thus, for a teacher to make best use of whatever fingerings do appear printed in educational music, the teacher must interpret each fingering to ascertain its benefits and disadvantages, and must consider the skills that the student has already mastered or not mastered. Only then can an assessment be made whether a particular student will benefit from the given fingering, or whether a different one would be more suitable. In the above passage, if a student has been playing comfortably in five-finger positions, replacing the 2s with 3s would allow that student to experience a new fingering principle. For students who still look at their hands while playing in five-finger positions, however, this indicates a lack of fluency in reading and playing within five-finger positions; thus, the original, safer-feeling fingering would be better. 

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How Do You Teach Students to Plan Fingering?
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How do you use Piano Inspires Kids in your studio?

Written By Rebecca Mergen Pennington

The Co-Editors-in-Chief of Piano Inspires Kids, Andrea McAlister and Sara Ernst, recently answered some questions about the new magazine for young pianists. Find out more about the magazine below and go to kids.pianoinspires.com to join our community of inspired music makers!

With the recent launch of Piano Inspires Kids, I have been looking forward to incorporating this new publication into my studio.  It is exciting to see all of the quality resources in a kid-friendly format.

Group Class Materials

At The New School for Music Study, we have arranged for all group classes that include students ages 8-14 to have a subscription to the magazine through their annual materials fee. The magazine will be used in group classes. In each class, students will explore a different area of the magazine with their classmates and it will serve as a “class text.” The opportunity to use this magazine as a class text, gives the teachers–and our school–a structure that we are confident provides a rich and comprehensive approach to music learning.

Holistic Approach to Music

I love that this magazine embraces my personal philosophy of teaching the whole child. In this magazine, our students are not just learning about a piece of music by an Argentinian composer. Instead, they are also learning about the country itself. This approach will encourage students to make connections across disciplines and result in a fuller and richer experience for our students. 

Opportunities for Students

Our students will have performance opportunities through the magazine. I would like to see each student submit a video of their playing throughout the year. Many of our students are looking for additional performance opportunities and this magazine provides them! Additionally, there are other ways for students to showcase their talents. They can submit poetry or artwork, which is a wonderful way for our students to highlight their other talents and interests.

Resources for Teachers

I already have had great fun exploring the resources for teachers on the website. Over the summer, I used the scavenger hunt with several groups of students, and they had a great time with this activity. It also led to an engaging and enthusiastic discussion about musical terms as the students enjoyed discovering many different terms in the pages of their music. I was so pleased that this resource provided a fun way for students to look more deeply at their music. As a school, we have also enjoyed exploring the trio by Louis Sanchez that is a resource with the first issue.  We have three different groups of students working on this ensemble. 

Rebecca Mergen Pennington, Administrative Director, New School for Music Study

Studio Themes and Ideas

I am particularly excited about the way the magazine inspires me in thinking about my studio (or in my particular case, our school). It has given me ideas for school-wide projects or incentives, and even decorating! This September, the magazine inspired me to create a wall featuring “Piano Inspires” in languages from around the world. Within that space, there is an interactive place for students to respond with how piano inspires them. Next month, I am planning to feature music by Argentinian composers in the waiting room, as well as an exploration of Latin American countries. I also plan to create a space for students to respond to the polls when they come to their lessons. It can be difficult to come up with new ideas for a studio each season and I love that this magazine provides that inspiration! 

Interested in learning more about Piano Inspires Kids? Watch this webinar with the Co-Editors-in-Chief Andrea McAlister and Sara Ernst: https://pianoinspires.com/webinar/10-11-23-webinar/. You can also learn more and subscribe here: https://kids.pianoinspires.com/.

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Inside Piano Inspires Kids: A New Publication of the Frances Clark Center

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

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Five Things You Should Know About Teaching Adults in Groups

Written By Pamela Pike

In her Summer 2021 article “Teaching Adults in Group-Piano Settings: Facilitating the Musical Process,” Pamela Pike gave practical advice about how to teach adults in group settings. Here are five tips for working with adults in groups from her article. Read the full article at https://pianoinspires.com/article/summer-2021-teaching-adults-in-group-piano-settings-facilitating-the-musical-process/.  

1. Before creating and designing group-piano classes, teachers should identify which adults they hope to enroll and engage in each group that will be offered.

Considered broadly, adult piano students may be amateur musicians or future professionals. If they are amateurs,1 they may fall anywhere along a continuum from serious piano student to recreational music maker (RMM). Recognizing each adult’s dedication to piano study can help to ascertain how much time they wish to devote to the piano.

2. Adults come to the classroom with preconceived expectations for what they wish to gain from the experience and ideas about how they learn best. 

Thus, teachers/facilitators and adult students become partners in the learning experience. In order to facilitate optimal learning among all adults in the group-piano class and a positive group culture, teachers need to consider how they will manage both in- and out-of-class expectations and activities. Thus, from the outset, teachers of adults must plan how they will encourage the appropriate social and musical interaction necessary for success of the group.

3. Many adults, especially those with some formal music training, have preconceived notions about how the piano lesson should be—and may not understand how music making and learning occurs in a group-piano setting.

Remember, also, that the group may not be ideal for every learner.2 Be prepared to direct an adult who will not be well-served by the group experience toward private lessons or another musical alternative.

4. Although the possibilities for curriculum design are endless, choose materials, books, and music appropriate for each type of adult group. 

Once group-piano teachers have designed the curriculum for the semester and conveyed the expectations for participation to group members, they must ensure that the group culture is developed and productive group growth is fostered during each class. Facilitators who provide time and space for group members to listen, assess, and speak about their musical experience will, ultimately, support the adults’ learning independence and autonomy, even as the students learn from one another. Most adult students hope to gain a certain amount of independence at the piano, which is especially useful outside of the group setting.

Pamela Pike, Editor in Chief and Chief Content Director, Piano Magazine

5. Effective teachers consider the sequencing, pacing, and learning objectives for each activity when creating lesson plans.

Ideally, each activity leads seamlessly into the next, with activities providing students opportunities to elaborate upon and increase skill development as the class progresses.3 When teaching groups of adults, the instructor should remain cognizant of the students’ readiness, orientation to learning, and preferred learning styles, but physical and mental changes due to age or lifespan constraints ought to be considered, also.4

For just $36 for the digital version or $48 for the printed issue, you’ll gain access to Piano Magazine, our video series, exclusive discounts, subscriber-exclusive community events, and more! Subscribe here: https://pianoinspires.com/subscribe/.

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Teaching Adults in Group-Piano Settings: Facilitating the Musical Process
NOTES

1 The root of the word amateur traces back to French and Latin words that translate to “lover” in English. Used in this sense an amateur pianist is one who pursues study of the instrument for the pure love or joy of it. Some contemporary definitions of amateur reference incompetence. However, throughout this article the term amateur will be used to reference a musician who, although not a professional, loves studying or playing the piano.

2 Frances Clark wrote that group teaching is successful when (among other things) “the teacher believes that the group learning situation is best for every student in the group.” See Frances Clark, Questions and Answers (Kingston: Frances Clark Center, 1992): 183.

3 For a more detailed discussion of individual learning styles, preferred learning modes, and cognitive strategies that improve learning and reinforce individual learning preferences in group-piano settings see chapter 4 in Pamela D. Pike, Dynamic Group-Piano Teaching, Routledge, 2017.

4 See Andrea Creech, Susan Hallam, Maria Varvarigou, & Hillary McQueen, Active Ageing with Music, Institute of Education Press, 2014; Cyril O. Houle, Patterns of Learning, Jossey-Bass, 1984; Pike, Group-Piano, chapter 7.

Pamela D. Pike is the Spillman Professor of Piano Pedagogy and Associate Dean of Research at Louisiana State University. As an active researcher of pedagogical topics, she is a sought-after speaker and clinician. Pike has published articles, book chapters and full-length books, and is editor-in-chief of the Piano Magazine.

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