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.
Claudette Sorel and Tony Caramia
Lessons with Claudette Sorel (1932–1999) exposed me to remarkable musical insights, communication skills, and a world-class perspective, which continue to nurture and inform my own teaching and performing career.
Little did I know of her background when I walked into her studio in September of 1968. Imagine my feelings of awe when I discovered her history: a child prodigy who made her recital debut at the age of 11 at New York’s historic Town Hall in 1943. The New York Times reviewer remarked, “A child capable of so polished and eloquent an example of pianism has a future worth watching.” Her scholastic honors included completing high school in three years as valedictorian and simultaneously attending The Juilliard School on full fellowship, from which she graduated with highest honors and as its youngest graduate. At the Curtis Institute of Music, she received an Artist Diploma with highest honors. This was accomplished while she was also a student at Columbia University, from which she received a degree in Mathematics, Cum Laude.
During her career Ms. Sorel made more than 2,000 concert, recital, and festival appearances and appeared as soloist with 200 orchestras, including the New York Philharmonic, Boston Symphony, Philadelphia Orchestra, NBC Symphony, and London Philharmonic. Her signature work was Edward MacDowell’s Piano Concerto No. 2, and she gave world premieres of music by Lukas Foss, Harold Morris, Paul Creston, and Peter Mennin, among others.
She was my teacher for my four undergraduate years at SUNY Fredonia, where she taught for many years. While chairing the piano department in the 1970s, she became the first woman in the entire New York State University system of over 30,000 faculty to be named Distinguished University Professor.
My memory of my first lesson is as vivid today as it was that fateful day in the Fall of 1968: she asked me to perform a piece, so I chose Chopin’s Polonaise in A Major, Op. 40, No. 1. I was very confident of my abilities to perform this piece well and dove in with all the gusto that youthful ignorance can provide. Upon completion, she looked at me and quietly uttered, “Well, now we’ll learn how to play the piano.” I was devastated, surprised, angry, confused. I was already really good, wasn’t I?
Claudette Sorel, sorelmusic.org
She then demonstrated several things to practice (how I wish I could remember those exact ideas!) and I reluctantly went to a practice room to try them out. To my utter amazement, they worked! Immediately! Her magic continued unabated for four years and actually, to this day. She encouraged my burgeoning interest in jazz piano and gave me exercises that proved invaluable to my jazz playing! How did she know to do that?! She enjoyed (or was certainly amused by) my preliminary endeavors at multimedia concerts, using Kodak slides in a tray, overhead transparencies, and Fender Rhodes Electronic Keyboards.
She would frequently conduct workshops for piano teachers in the Buffalo area and would bring one student from each year to demonstrate her approach to technique. That first year, I was the freshman representative. I played some scales and arpeggios. Then a sophomore played, followed by a junior and then a senior. We could all hear the progression of clarity, focus, sound, etc. Each of her students would speak to the teachers; we in turn learned how to “work the room,” how to address questions, and how to help teachers (and ourselves) learn.
I hear her voice strongly advocating underrepresented composers, advancing gender and racial equality in classical music, and expanding the classical music canon for future generations.
Presently, in private lessons, I find myself hearing her voice guiding me, prompting me to ask my student a particularly astute question in order to facilitate the learning. Her knowledge of the physical world of producing a relaxed and powerful playing mechanism has stayed with me all these years, both in my own playing, and more importantly, in the ideas I share with my students.
And now, as I am ever more focused on augmenting the repertoire choices of modern pianists, I hear her voice strongly advocating underrepresented composers, advancing gender and racial equality in classical music, and expanding the classical music canon for future generations. What an astounding legacy and how utterly fortunate we are that it continues.
THIS WEEK IN PIANO HISTORY, we celebrate the premiere of Charles Ives’ Concord Sonata, which American pianist John Kirkpatrick premiered on January 20, 1939. The sonata, Ives’ second piano sonata, lasts over forty-five minutes and is noted for its extremely dense writing and complicated use of leitmotifs.
Ives was an American musical pioneer who was known for his colorful and fascinating musical palette. Ives’ father, George E. Ives was one of his primary teachers and held a number of musical positions in Connecticut where he conducted multiple ensembles. Charles Ives grew up studying with his father and played several instruments including piano, organ, and drums, which he performed in his father’s band. Ives experimented throughout his life with a variety of sound worlds including microtonality and polytonality.
Ives’ Concord Sonata was published as his second and final piano sonata in 1920, but Ives revised it a number of times. In the sonata, Ives reflects on writings from poets in the New England area. Each of the different movements of the sonata is titled after a famous American writer including Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne, Bronson Alcott, and Louisa May Alcott. Although written for solo piano, the sonata includes noted solos for flute, viola, and a block of wood, which is used to play clusters in the Hawthorne movement. The sonata is dense, featuring leitmotifs from Beethoven’s Symphony No. 5, several hymns, and other excerpts of works by composers such as Debussy and Wagner.1
The Charles Ives House in Danbury, Connecticut. Ives was born here in 1874.
In addition to the sonata, Ives wrote an essay titled Essays Before a Sonata, in which he described his new musical aesthetics. In writing this document, he joined a number of other twentieth-century composers such as Olivier Messiaen who wrote about their musical methods.
Although the sonata initially received mixed reactions, it was later praised by American author Henry Bellamann who described it as “elevating and greatly beautiful.”2 A number of pianists have recorded the work in recent years including Stephen Drury, Marc-André Hamelin, Gilbert Kalish, and Pierre-Laurent Aimard.
Interested to hear a recording of Ives’ Concord Sonata? Listen to this recording of Stephen Drury performing the work in Jordan Hall at New England Conservatory in Boston, MA.
Pianist Stephen Drury and flautist Jessi Rosinski perform Ives’ Concord Sonata on Sunday, June 16, 2013 at Jordan Hall of the New England Conservatory.
J. Peter Burkholder, James B. Sinclair, and Gayle Sherwood Magee, “Ives, Charles,” Grove Music Online (16 Oct. 2013; Accessed 15 Dec. 2022), www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002252967.
Burkholder, J. Peter, James B. Sinclair, and Gayle Sherwood Magee. “Ives, Charles.” Grove Music Online. 16 Oct. 2013; Accessed 15 Dec. 2022. www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002252967.
Dr. Curtis Pavey is a pianist, harpsichordist, and educator. A performer of works from the 16th through the 21st centuries, he feels equally at home performing or teaching at the piano and the harpsichord. He is currently based in the Cincinnati area and maintains a private piano studio.
The Frances Clark Center appoints Director of Development and Advancement
The Frances Clark Center is pleased to announce the appointment of Heather Smith as Director of Development and Advancement.
“I am so grateful for the opportunity to serve our music community at The Frances Clark Center. Nothing makes me happier than to support dedicated teachers, students, and performing artists who have a shared belief that the world is made brighter through the gift of music.” -Heather Smith
Heather K. Smith, NCTM maintains a multi-faceted career as a music educator, administrator, and community arts advocate. Heather is the co-creator of The Frances Clark Center’s online course, A Pianist’s Guide to Studio Management. She is a member of the College of Examiners for The Royal Conservatory of Music and examines students throughout North America. In addition, she serves on the MTNA Development Committee and the MTNA Business Network.
As a certified Change Leader through the Utah Division of Arts & Museums, Heather enjoys supporting communities through local fundraising events and larger capital campaign initiatives.
Heather received a Master of Music and Bachelor of Music in Piano Performance from the University of Utah as well as a Bachelor of Science in Accounting from Maryville University in St. Louis, Missouri. She is currently completing an MBA at Westminster College in Salt Lake City and will graduate in April 2022. Formerly the Assistant Director and Associate Instructor at the University of Utah’s School of Music Preparatory Division, Heather now teaches both private lessons and group classes in her home studio in Centerville, Utah.
The Frances Clark Center appoints Program Advisor of Advanced Repertoire
The Frances Clark Center is pleased to announce the appointment of Dr. Artina McCain as Program Advisor, Advanced Repertoire. In this role, Dr. McCain will be involved with advanced repertoire initiatives such as From the Artist Bench and Piano Stories On Stage.
“The Frances Clark Center is a leader in our field of pedagogy. I am excited to join this institution dedicated to transforming our field!” – Artina McCain
Dedicated to promoting the works of Black and other underrepresented composers, Artina curates concerts for multiple arts organizations exploring intersections of standard and underrepresented repertoire. She is an American Prize winner for her solo piano recordings and won a Gold Global Music Award for her recent album project Heritage featuring American composers. She won a critic’s table award for her program The Black Female Composer for the 2017 Austin Chamber Music Centers’ Annual Black Composers Concert. In September 2021, Hal Leonard published her 24 arrangements of African American Folk Songs as a part of their traditional folk songs collection.
Artina was a featured inspirational leader in the award-winning PBS documentary series Roadtrip Nation: Degree of Impact in an episode exploring the real-world impact of professionals with doctoral degrees in and outside of academia.
Currently, she is Coordinator of Keyboard Studies at the Rudi E. Scheidt School of Music at the University of Memphis and Co-Founder/Director of the Memphis International Piano Festival and Competition.
The Frances Clark Center appoints Director of Diversity, Equity, and Inclusion
The Frances Clark Center is pleased to announce the appointment of Dr. Leah Claiborne as Director of Diversity, Equity, and Inclusion. Dr. Claiborne will lead programming and projects that support the promotion of diversity, equity, and inclusion in the field of piano.
“I am excited to step into this new role as Director of Diversity, Equity, and Inclusion at the Frances Clark Center and join the dynamic team of innovators in our field. DEI work and understanding is vital to the integrity and future of our field. I am honored to link arms with colleagues across the world to make impactful changes in piano pedagogy. ” – Dr. Leah Claiborne
Pianist, scholar, and educator, Dr. Leah Claiborne promotes diversity in the arts by championing piano music by black composers in her performances, research, and teaching. In 2017, Dr. Claiborne was the first pianist to be awarded the Rackham Predoc Fellowship at the University of Michigan, which allowed her to further her research in compiling, editing, and recording piano music by black composers.
Dr. Claiborne has performed across the United States, as well as in Germany, Italy, and the Czech Republic. Most recently, she performed at Hiroshima University in Japan with the Asia/American New Music Institute. Dr. Claiborne received her undergraduate degree from the Manhattan School of Music, where she received the Josephine C. Whitford graduation award. She received her Master of Music and Doctor of Musical Arts degrees from the University of Michigan. Dr. Claiborne serves as coordinator of Keyboard Studies at the University of the District of Columbia.
The Frances Clark Center appoints Director of International Engagement
The Frances Clark Center is pleased to announce the appointment of Dr. Luis Sanchez as Director of International Engagement. Dr. Sanchez will spearhead projects that expand the international reach of the Center and support its mission of providing the highest quality resources for piano teaching, learning, and performing.
“I am thrilled to join the Frances Clark Center and its vibrant team! It is an honor to serve in an organization committed to the advancement of keyboard pedagogy through its many initiatives and programs. As the center broadens its vision reaching international scope, I am excited about exploring and developing projects that further support the mission of the center.” Dr. Luis Sanchez
For over three decades, pianist Luis Sanchez has maintained an active career as soloist, collaborative artist, and teacher. He has appeared in concerts in the United States, South America, Europe, and Asia. He is currently Professor of Piano and Director of Keyboard Studies at Texas A&M University-Commerce. Dr. Sanchez joined the Steinway Artist Roster in 2012.
Luis Sanchez enjoys a successful teaching career. Current and former students have been recipients of prizes at national and state competitions including the Texas Music Teachers Association Performance Contest, the National Young Musicians Showcase Competition, the Muncie Symphony Junior Concerto Competition, the Tuesday Musical Club Young Artist Competition in San Antonio, The UT Arlington Competition Festival, among others. Since 2014, he has frequently joined the faculty of InterHarmony International Music Festival in Germany and Italy.
Born in Argentina, Dr. Sanchez holds degrees from the National Conservatory of Music “Carlos López Buchardo” and Ball State University. His teachers include Ana Litovsky-Grunwald, Graciela Beretervide, Robert Palmer, and Rebecca Penneys.
The Frances Clark Center appoints Director of Publication Projects
The Frances Clark Center is pleased to announce the appointment of Dr. E. L. Lancaster as Director of Publication Projects. Dr. Lancaster brings a wealth of experience to this position and will spearhead publication projects that support the Center’s mission of providing the highest quality resources for piano teaching, learning, and performing.
“I am excited about exploring publication projects that advance the mission of the Frances Clark Center and support activities of the center such as webinars and courses. First and foremost, I envision developing ideas that support the mission of the center in making teaching effective, efficient, and exciting!” – E. L. Lancaster
“E. L. is a celebrated leader in our field. His expertise, experience, and leadership will help advance this exciting strategic area for the Center. We are especially excited to announce that the first project we will be publishing this summer is a new book by Dr. Jane Magrath.” – Dr. Jennifer Snow, CEO and Executive Director, The Frances Clark Center
Dr. E. L. Lancaster is a piano faculty member at California State University, Northridge where he teaches keyboard literature and class piano. He also serves on the board of the Frances Clark Center for Keyboard Pedagogy and is the author of the “What’s New” column for the American Music Teacher. Previously, he served as Senior Vice President and Keyboard Editor-in-Chief of Alfred Music.
Dr. Lancaster holds degrees from Murray (KY) State University, the University of Illinois, and a Ph.D. from Northwestern University. From 1979 until 1998, he was Professor of Music at the University of Oklahoma, Norman, where he taught courses in piano pedagogy and coordinated the group piano program. Dr. Lancaster established the masters and doctoral programs in piano pedagogy at the University of Oklahoma in 1980 and served as major professor for more than 50 doctoral dissertations in that field. He taught pre-college students in the Piano Pedagogy Laboratory Program, combining group and private instruction. In addition, from 1981 to 1996, he and his wife, Dr. Gayle Kowalchyk, operated a large independent piano studio in Norman, Oklahoma.
Dr. Lancaster has served as National Chairman of Group Piano and National Chairman of Student Chapters for MTNA. He was the convention chair for the 2020 MTNA National Conference. He has held offices in the National Conference on Piano Pedagogy, including Chair of the Administration/Pedagogy Liaison Committee. Dr. Lancaster has received numerous teaching awards from the University of Oklahoma, including the Regents Award for Superior Teaching (1984), Associated Distinguished Lectureship (1987), Provost’s Outstanding Academic Advising Award (1996), and Outstanding Faculty Award in the College of Fine Arts (1996). In 1991 he was awarded a David Ross Boyd Professorship, named in honor of the first OU president, given to faculty members who excel in teaching, counseling and guiding students.
In 2013 he was named a Signature Sinfonian by Phi Mu Alpha Sinfonia, national music fraternity. This award honors members who exhibit high standards of excellence in representing the fraternity as an alumnus. Murray State University honored him in 2014 with a Distinguished Alumnus Award, the highest honor granted by the University. At their 2016 convention, the California Association of Professional Music Teachers presented him with their Lifetime Achievement Award. He was a 2019 recipient of the Lifetime Achievement Award from the National Conference on Keyboard Pedagogy and the Outstanding Alumnus in Fine Arts Award from Murray State University.
Dr. Lancaster has presented workshops for teachers throughout the United States, Canada, Hong Kong, China, Korea, Malaysia, Singapore and Thailand. He is the author or co-author of more than 400 publications designed for students of all ages including Alfred’s Premier Piano Course, Music for Little Mozarts, and Alfred’s Group Piano for Adults. He lives in the Los Angeles area.
The Frances Clark Center Appoints New Board Members
The Frances Clark Center is pleased to announce the addition of three new members to its Board of Trustees: E.L. Lancaster, William Chapman Nyaho, and Chee-Hwa Tan.
E. L. Lancaster is a piano faculty member at California State University Northridge. He holds a Ph.D. from Northwestern University and established the masters and doctoral programs in piano pedagogy at the University of Oklahoma. Lancaster is a co-author of Alfred’s Premier Piano Course, Music for Little Mozarts, and Alfred’s Group Piano for Adults. In 2019, he received the Lifetime Achievement Award from the National Conference on Keyboard Pedagogy and the Outstanding Alumnus in Fine Arts Award from Murray State University.
Dr. William Chapman Nyaho currently serves on the piano faculty at Pacific Lutheran University as well as on the summer faculty of Interlochen Center for the Arts and has a private piano studio in Seattle, Washington. He is an active solo recitalist, duo pianist and chamber musician, giving recitals and concerts in Europe, Africa, and the Caribbean and in cities across the United States where he advocates music by composers of African descent. He has served on national committees for the College Music Society, Music Teachers’ National Association and the National Endowment for the Arts. He is an advocate for music of Africa and its diaspora with numerous publications and recordings.
Chee-Hwa Tan has served as the Head of Piano Pedagogy at the University of Denver Lamont School of Music, as well as on the piano pedagogy faculties at the Oberlin Conservatory and Southern Methodist University. Ms.Tan is the author of internationally acclaimed A Child’s Garden of Verses and other piano collections. Her music is published by Piano Safari; with selections included in the Repertoire and Study series of the Royal Conservatory of Music, Canada, and the Associated Board of the Royal Schools of Music, London. Ms. Tan holds Masters’ degrees in Piano Performance and Piano Pedagogy from Southern Methodist University and a B.A. in Piano Performance and English from Oral Roberts University. A native of Malaysia, Ms. Tan resides in Colorado, with her husband Christopher and their four musician children.
“We are thrilled to welcome these three distinguished pianists and teachers to the Board of the Frances Clark Center. We look forward to the experience, expertise, and wisdom they bring, and to collaborating with them to serve our community of musicians,” said Leslie Owsley, Chair of the Board of Trustees.
“It is inspiring to have the opportunity to work with these outstanding professionals in our field. Their leadership and contributions will be invaluable as we continue to realize the mission of the Center. We are deeply grateful for their willingness to serve the Center in support of piano teaching, learning, and performing,” Dr. Jennifer Snow, CEO and Executive Director of the Frances Clark Center.
The Frances Clark Center for Keyboard Pedagogy, a not-for-profit educational institution (501c3) located in Kingston, New Jersey, serves pianists and teachers through its divisions: The National Conference on Keyboard Pedagogy, Piano Magazine, Teacher Education, and The New School for Music Study.
Every year, Piano Magazine offers students the opportunity to showcase their research and writing through the Collegiate Writing Contest. We are pleased to present the testimonies of two recent winners of this competition, in hopes that it will inspire other collegiate students to submit their manuscripts for a chance to be featured in Piano Magazine. The grand prize winner receives publication in an issue of Piano Magazine, and secondary prize winners receive publication on PianoInspires.com. This year, the contest runs until May 1, 2023. Learn more and submit an article here!
The date is April 27, 2020. I just turned in the final draft of my master’s thesis, and I am ready to call the semester over. It had been over a month since I left my apartment (and my cat) due to the pandemic. Then I received an email from my advisor along the lines of, “You should write an article and submit it for the Collegiate Writing Competition through Piano Magazine.” I’m sorry–what? The deadline was May 1, 2020. How was I supposed to write an article worthy of submission that close to the deadline while my brain (and soul) was recovering from finishing my master’s degree online? Well, if your advisor recommends that you do something, you do it. They know best…right?
So, I did it. I locked myself in my office and got to work. I might have become a little over zealous in the research stages of my thesis, so I certainly had plenty of content. I finally settled on a Norwegian folk song by Agathe Backer-Grøndahl. The hard part was trying to narrow the scope of my article. Why do other pianists and teachers need to know about this piece? What does it offer to students?
Let’s just say the first draft was definitely a rough draft. It was essentially a music theory paper. After some feedback from my advisor and one of my peers, I scratched the entire thing and started over. What made this piece special? Why did I choose it? Aha! The rhythms. I realized that Grøndahl used strong hand shapes and positions to allow students to focus on rhythmic complexities. Surprisingly, this version was the easiest to write. I found a topic interesting to me and beneficial to my students. That’s what this is about, right?
Throughout my adult life I have had conflicting feelings regarding generic inspirational quotes (i.e. “You’ll never know until you try…”). I always craved real and specific advice. Yes, I’ll never know until I try, but what do I gain from trying? What do I gain from failing? Why should I spend time and energy on something that might not benefit me? In this case, why should I put myself through the stress of writing (and rewriting) an article when all I want is my degree and a nap? The truth is simple: I did not know what I did not know until I tried. Read that again. I did not know what I did not know…until I tried. I learned where the deficits in my writing and my ability to talk about music were. I learned that I can write quickly when needed (and pushed). I learned that sometimes the greatest advice I can be given is to just try because I will discover the “why” myself.
So, my advice is just do it. Write an article and submit it. You’ll never know what you don’t know until you try.
My master’s research centered around the underrepresented majority of pianists; those whose hands are considered small by late-Romantic standards. I was highly motivated to share what I had learned with the outside world, especially given how significantly it had helped me with my own teaching and playing, but I didn’t have a good way to do so outside of my school, LSU. Dr. Pamela Pike strongly recommended I take a portion of my research and turn it into an article for the Collegiate Writing Contest at Piano Magazine. Because I had spent several months writing about small-handed-piano technique, in both academic and lecture form, it was easy for me to quickly draft a 1,000-1,500 word essay.
I’m extremely thankful for my colleagues at LSU, who had heard me talk about my research throughout my entire project. Because they understood my thoughts and goals, they were able to help me revise my draft in a way that was approachable and fit the style of a Piano Magazine article. I might not have considered writing for a magazine if I hadn’t had that kind of support.
Submitting the article was a little scary because I had never done something like that before. However, I felt I had something to add to the conversation surrounding small hands, and I knew it would add authority to my CV and resumé for future job applications. Also, why not submit an article? I had done months of work and research. The worst thing that could’ve happened was that I’d have to try again in the future.
When I received the email that I had won the competition, it was so affirming! As a young person, I had never been recognized outside of my immediate circle of professors and colleagues. It gave me the confidence to present at the fall LMTA (Louisiana Music Teachers Association) conference, something else I had never done before. I look forward to continuing my academic journey, alongside my teaching career.
We are delighted to share top tips from Dr. Sara Ernst on recording effective teaching demonstrations as you compile your teaching video submissions for NCKP 2023: The Piano Conference. Sara is Director of Teacher Engagement for the Frances Clark Center and a member of the Executive Committee for NCKP: The Piano Conference. We invite you to submit your teaching videos via our proposal submission portal by 11:59pm PT on Monday, April 10, 2023.
Teaching demonstrations have a long history at NCKP: The Piano Conference, the roots of which can be traced back to Frances Clark. At the New School for Music Study in the 1970s, Frances Clark and Louise Goss were innovators in teacher education as they began videotaping classes and lessons. They were using reel-to-reel tapes and large camcorders! Thankfully today we can rely on cell phones and digital cameras to capture amazing high-definition video, and we can edit, post, and share with relative ease.
Different from a masterclass, a teaching demonstration showcases a student working with the primary teacher in a customary studio setting. Through the use of lesson videos, we observe a snapshot of music learning and explore best practices by discussing individualized teaching approaches. This provides us an opportunity to reflect upon learning, music making, and pedagogical process, especially in how teachers meet the unique needs of students. Consider submitting a video of your teaching for an opportunity to share this at NCKP 2023. Read below for several strategies to create effective teaching demonstration videos:
1. Select students based on strengths
There will be certain students in your studio who will be ideal for a recording project. Those include students who are regularly interactive and engaged. Avoid students whose learning may be negatively impacted by the pressure of video recording, and those who may become overly distracted by the presence of cameras. There are also ideal times for recording videos. Great moments can often be captured in lessons that prepare for recitals or events, or when a student has reached a period marked by growth and motivation.
2. Receive approval and consent
Whenever documenting lessons with video recording, it is crucial to receive approval and signed consent from parents/guardians and students. Some students and/or caregivers may be hesitant with the prospect of recording lessons; sharing how the video will be used and the purpose of the project will often quell any concerns. If you are teaching at a school, academy, or other institution, there may be specific approvals and requirements. If applicable, check with the administration or board. Keep records of approval and consent as you build your video library.
3. Invest time in setting up
An ideal camera angle will capture the student, the teacher, and the piano. This is often an exacting, finicky task, especially with a smaller room. These strategies may help:
Use a tall tripod for security and stability. An ideal tripod will extend to 60 inches in height.
Place the camera/tripod on a table top, desk, or piano lid to find ideal angles.
Position the camera near shoulder height, angled slightly down. This can often capture a wider view.
Mark the tripod height and location to easily reset the tripod another day.
Check your angle and device to avoid these common problems, as much as possible:
A blocked student: if both teacher and student are seated, often the teacher will completely cover up the view of the student.
A cutoff teacher: if you often stand while teaching, ensure the camera catches you when standing, as well as seated.
Poor audio for voices: if the camera is too far away, the microphone will not pick up portions of the spoken dialogue.
Incomplete video: plug the camera in to power (or fully charge your phone battery), and check the recording space to ensure ample time.
Poor file quality: verify that your device is set to high-definition audio and video quality.
If you are recording an online lesson, set the platform to create a “gallery” video, recording a continuous stream of both student and teacher. This will allow for the viewer to follow the lesson content and the interaction.
4. Record several weeks of entire lessons
The goal with a teaching demonstration is to highlight student learning and teaching process as it authentically occurs. Even with the proliferation of recording today, students and teachers will initially adjust their behaviors when being videotaped. If many entire lessons are recorded, both teacher and student will adapt over time—in other words, they will eventually just be themselves! Then, the camera lens can capture great moments of teaching and learning.
5. Organize your videos and take post-lesson notes
One challenge of recording today is keeping track of all the files! Download and save your videos with logical titles (student name and date, for instance). After each lesson, take dated and detailed notes about the lesson, including the order of activities, the student’s assignment, notable moments, and pedagogical reflections. This will help you recall, analyze, and discover ideal segments for a teaching demonstration video.
6. Find ideal segments to submit
Ideal teaching demonstration videos (10-minute maximum) will show students engaged in deep learning experiences. The segment could highlight:
A student who demonstrates comprehension in a compelling way.
A student with a palpable motivation to try and explore new concepts.
A multi-week sequence of activities that culminates in a student’s increased ability/knowledge.
A coaching session that results in a student’s artistic performance.
A student’s inspiring and creative approach to learning and playing.
And more…
Please consider submitting a video for an opportunity to participate in a teaching demonstration at NCKP 2023. Review all submission and video requirements by clicking here.
Sara Ernst, PhD, is an active pedagogue and pianist, and Associate Professor of Piano and Piano Pedagogy at the University of South Carolina. She is Director of Teacher Engagement for the Frances Clark Center and immediate past president of the South Carolina Music Teachers Association.
THIS WEEK IN PIANO HISTORY, we remember Alice Coltrane, who died on January 12, 2007 in Los Angeles, California. Coltrane was a jazz pianist, harpist, and composer who later transformed her life as a Hindu spiritual teacher (swamini) under the name Turiya Sangitananda. Her recording and performing career spanned the second half of the twentieth century into the early 2000’s when she recorded her final disc.
Coltrane was born in Detroit and spent her early years studying piano. Her talent was immediately noticeable and she spent her youth exploring a range of musical influences including classical, bebop, and gospel styles. Among her early teachers were noted jazz pianists Barry Harris and Terry Pollard. At the piano, she brought a unique style and impressed her early colleagues. When Terry Gibbs, an American vibraphonist, met Coltrane, he immediately hired her on the spot. Years later, he reflected about that moment: “Alice MacLeod was her name and she played four bars, just four bars. And I stopped it, I said you’re hired; you got the job.”1
Coltrane briefly married Kenny Hagood in 1960 and gave birth to their only child, Michelle. In 1963, Alice Coltrane met American saxophonist and composer John Coltrane and later married him in 1965. They frequently performed together and began building a family with three children: John Jr., Ravi, and Oran. John Coltrane died in 1967 from liver cancer, which brought on a new period of artistic and spiritual exploration from Alice Coltrane.
Alice Coltrane recorded dozens of albums featuring her eclectic musical interests. Among her most popular recordings are Live at the Village Vanguard Again!, Transcendence, Divine Songs, Translinear Light, and Transfiguration. Her career featured numerous collaborations including Yusef Lateef, Sonny Stitt, Reggie Workman, Roy Haynes, Charlie Haden, Roland Kirk, Joe Henderson, and her children Ravi and Oran.
In her later years, Coltrane turned towards Hinduism as a guiding spiritual and artistic force. She became a spiritual teacher in the Hindu tradition and changed her name to Turiyasangitananda. Her beliefs led her to found the Sai Anantam Ashram in Agoura Hills, CA. During this late period of her life, she wrote a number of documents about her spiritual journey and was inspired by Hindu hymns, which later appeared in her music. Coltrane died from respiratory failure on January 12, 2007.
Interested in listening to Coltrane’s performances? Listen to this recording of her performing at the International Jazz Music Festival Jazz Jamboree in Warsaw in 1987 with her son Ravi Coltrane and musicians Roy Haynes and Reggie Workman.
Pianist Alice Coltrane performs with Ravi Coltrane, Roy Haynes, and Reggie Workman at the International Jazz Music Festival Jazz Jamboree in Warsaw in 1987.
Dr. Curtis Pavey is a pianist, harpsichordist, and educator. A performer of works from the 16th through the 21st centuries, he feels equally at home performing or teaching at the piano and the harpsichord. He is currently based in the Cincinnati area and maintains a private piano studio.
We would like to thank Sheryl Iott for collaboration on this post. We encourage you to watch Sheryl’s archived webinar titled, “Music Cognition: Patterns, Predictions and Practice,” by clicking here. Want to watch, but not yet a subscriber? Subscribe now for only $7.99/mo or $36/year.
1.Practice doesn’t make perfect.
Not even perfect practice! What practice does is establish a series of habits—motions in response to thoughts (or the lack thereof). Mindful practice and observation of the results of intentional effort can create a faster and more secure learning pathway.
2. Practice doesn’t require playing.
In fact, a lot of really effective practice happens using various mental practice/rehearsal strategies. Many might be familiar with mental practice for memorization—mental practice is one of the best ways to learn, check, and reinforce our memory—but mental practice can also be implemented in other ways. For example, in between repetitions of something that you are drilling, you might plan/imagine the passage and your actions, execute, and then observe and evaluate what you did, how it felt, and what its result was. Mental imagery practice actually reinforces many components of learning that contribute to performance security as well as the flexibility required to adapt on the spot to a different instrument, changes in acoustics based on the size or seating of an audience, and subtle differences in interpretation from collaborators during performance.
3. Music reading is important, so you probably shouldn’t teach it at the first lesson.
Unless a student has had experience reading music already, first lessons are better spent doing things like exploring the instrument, learning rote songs, playing call and response rhythms, and honing a relaxed and appropriate physical approach. A solid musical foundation, based in the development of audiation, lays important groundwork for music reading, just like a rich and varied speaking vocabulary helps young people learn to read.
4. The right side of your brain does more than “run” the left side of your body, and vice versa.
Everyone knows that much of the motor signaling to your body comes from the opposite hemisphere of the brain. But both hemispheres of the brain are always active in any activity, no matter what you are doing. There are also various roles played by each hemisphere, such as the left side of the brain’s preference for processing isolated pieces of information, narrow/focused attention, and prioritizing the expected, including quick selection of what seems to be the best solution based on what it already knows, compared with the right side of the brain, which deals better with the sense of the whole (the “Gestalt”), breadth/flexibility of attention, seeing things within their context, embracing of new experiences, and remembering/distinguishing between various things that may be quite closely related.
There are even differences in musical processing, with the left brain more effectively processing basic/metrical rhythms, and focusing on the sequencing of time, whereas the right brain does better with melody/tone/timbre/pitch processing, more complex rhythms, harmony and intonation.
Since we want to involve all of these components in music learning, and add to that the importance of a firm neural network for hands-together playing for pianists, hands-together learning alternating with hands-separate practice is crucial at even the earliest stages of learning new repertoire. We can go about this through careful structuring of various hands-together practice, such as playing one hand while tapping the rhythm of the other; scaffolding practice where we only play the downbeat or strong beats of one hand against the complete other part; or other chunking strategies such as playing blocked chords instead of patterned accompaniments, etc.
5. Musicians can, and do, multitask.
While we are playing, whether we are reading a new piece or playing something familiar, we take in or remember the next chunk of information and send that information to the part of our brain that triggers the physical response. As we are executing that physical response, our brain is processing the next chunk of information, ideally while our sensory inputs are analyzing the result of our physical execution. Since each of these components utilizes a different cognitive “system,” we are, in fact, multitasking. What this means for us in practice is that the larger and more coherent our “chunks” are, and the more reliably our physical responses are programmed in response to those chunks through mindful and observant practice, the better each of those systems will work in coordination with each other.
The original production of The Nutcracker, Imperial Mariinsky Theatre, Saint Petersburg,1892
THIS WEEK IN PIANO HISTORY, we celebrate the premiere of Tchaikovsky’s ballet, The Nutcracker, on December 18, 1892. Although the premiere performance of the ballet was not well received, it has become one of Tchaikovsky’s most beloved compositions.
The History of The Nutcracker
Based on a story by E.T.A. Hoffman, Tchaikovsky’s The Nutcracker tells the story of a young girl named Clara (Marie in Hoffman’s story). Clara is gifted a beautiful nutcracker by her godfather, but it breaks after a fight with her brother Fritz. Waking at midnight to check on the toy, Clara is swept away into a magical story involving battles with mice and toy soldiers and fanciful travels. Some of the most famous music of the ballet comes in Act II, where a divertissement consisting of the “characteristic dances” occurs. The ballet ends with a final waltz in which Clara wakes up in her own bed.
Pyotr Ilyich TchaikovskyVarvara Nikitina and Pavel Gerdt in The Nutcracker, 1892
The premiere of the ballet was rocky and not everyone approved of the work. One critic wrote: “First of all, Nutcracker can in no event be called a ballet. It does not comply with even one of the demands made of a ballet. Ballet, as a basic genre of art, is mimed drama and consequently must contain all the elements of normal drama. On the other hand, there must be a place in ballet for […] dances, made up of the entire essence of classical choreography. There is nothing of this in Nutcracker. There is not even a subject.”1 The ballet, revived in 1954 by George Balanchine, later became a huge success. Today every major ballet company in the United States routinely performs Tchaikovsky’s ballet every holiday season to sold-out crowds.
Keyboards and The Nutcracker
Ballerina Lauren Cuthbertson performs the Dance of the Sugar Plum Fairy, a piece featuring the twinkling sounds of the celesta.
Celesta
One of the most notable moments of the ballet score is the use of celesta in the “Dance of the Sugar Plum Fairy.” Writing to his publisher, Tchaikovsky announced, “I have discovered a new instrument in Paris, something between a piano and a glockenspiel, with a divinely beautiful tone. I want to introduce this into the ballet and the symphonic poem. The instrument is called the ‘Celesta Mustel,’ and costs 1,200 francs. You can only buy it from the inventor, Mustel, in Paris. I want to ask you to order one of these instruments […] Have it sent direct (sic) to Petersburg; but no one there must know about it. I am afraid Rimsky-Korsakov and Glazounov might hear of it and make use of the new effect before I could. I expect the instrument will make a tremendous sensation.”2 The instrument did make quite a sensation and has become prominent in movie scores of the last few decades including its use in the Harry Potter movies (Hedwig’s Theme).
Due to the popularity of the Nutcracker, many have written arrangements of the suite for piano. Tchaikovsky himself arranged the suite for solo piano in 1892 and other popular arrangements were written for piano four hands by Eduard Langer and two pianos by Nicolas Economou. Listen to the following recording of Martha Argerich and Lilya Zilberstein performing Economou’s masterful arrangement.
Pianists Martha Argerich and Lilya Zilberstein performing Economou’s arrangement of The Nutcracker Suite.
Sources
Roland John Wiley, Tchaikovsky’s Ballets: Swan Lake, Sleeping Beauty, Nutcracker (Oxford: Oxford UP, 1985), 221.
Modeste Tchaikovsky, Life and Letters of Peter Ilich Tchaikovsky, trans. And ed. Rosa Newmarch (New York: Haskell House Publishers Ltd., 1970): 663.
Kodat, Catherine Gunther. “Dancing Through the Cold War: The Case of ‘The Nutcracker.’” Mosaic: An Interdisciplinary Critical Journal 33, no. 3 (2000): 1–17.jstor.org/stable/44029692.
Dr. Curtis Pavey is a pianist, harpsichordist, and educator. A performer of works from the 16th through the 21st centuries, he feels equally at home performing or teaching at the piano and the harpsichord. He is currently based in the Cincinnati area and maintains a private piano studio.
This week we invited our followers to submit questions for Sharon How about creating a singing tone. Today, Sharon is answering those questions!
We encourage you to read Sharon’s article in the Autumn 2022 issue of Piano Magazine, “Creating a Singing Toneat the Piano“, for her foundational thoughts on teaching a singing tone.
Join us on social media for the opportunity to have your questions on a variety of interesting topics answered by additional experts in the coming weeks.
Do you have specific words you use when communicating about playing with a singing tone to students? Are there specific words or phrases to avoid?
There is certainly nothing wrong with asking a student, “Can you add more expressivity?” or saying “I think you could do better with singing this phrase!” The real problem arises when the student has little or no clue how to do it! A lot of times, a student may think that he or she is making a good melodic shape, yet it takes good ears and intentional listening to truly hear the quality of tone and the shape of phrases that are being produced. I think the issue at hand is not about the specific words or phrases to use or to avoid but about identifying the actual problem.
For instance, if a pianist already has the technique to produce a good singing tone but is oblivious or careless about the melodic shape, it is helpful to pinpoint small details in phrasing. A reminder like, “I think you could create a more singing phrase” might even suffice for this particular pianist! But if you are dealing with a student who lacks the technique to produce a good singing tone, it becomes a whole different problem. In the latter case, the obstacle which needs to be dealt with is the lack of technique (the “how to”), instead of the idea of the result/goal (what this passage is supposed to sound like). The technique is required for the refinement of singing tone.
In your article, you talk about how curved fingers are better for articulated work and flat fingers are better for “singing” work. With that in mind, would you say that a beginner should first learn their technique playing unconnected (with curved fingers), and that a solid singing tone can only be taught after that has been mastered?
I think a beginner can be introduced to either or both ways at the same time. What is more important here concerns the strength of fingers with a flexible and relaxed wrist, because both articulated work and “singing” work requires firm fingers, yet a flexible and relaxed wrist. Another concept that can be introduced is arm weight versus finger action. I have seen too many cases where Czerny is used to “train and strengthen the fingers,” yet produces “typewriter” playing, which sounds completely mechanical and unmusical. Unfortunately, some technical exercises have even led to hand or wrist injury. Done in the right manner, the building up of strength in the fingers should lead to better shaping of musical phrases.
At what level of study do you introduce “singing tone”? Why?
I emphasize a singing tone as soon as possible, even at the beginning level. Much discretion is needed though. I think the first task is to expose students to “a good singing tone.” Start with the beginner pieces that they are working on. Demonstrate to them, and guide their listening. I will keep playing singing phrases and encourage them to create their own musical phrases. Ideally, I want the concept of “singing tone” to come naturally to them as much as possible — it’s a good habit to instill as soon as possible.
What method series do you feel does a good job of introducing singing tone to beginning students?
What are the best ways to enhance a student’s “inner conception of sound”?
One of the most helpful activities we can do is to have our students record their lessons! If the student is young, I would normally encourage one of the parents to observe the lesson as well. When students listen to the recording of their lessons, they can hear the difference between the “before” and “after.” The “before” refers to their playing before any instruction by the teacher is given, while the “after” refers to the improvements they made during the lesson. This also helps them remember what and how to practice at home. There are also times when a student is careless about musical phrases. I might ask, “Did you listen to your phrasing? Sometimes, they realize—and I will gently encourage them, “Let’s create a more legato phrase.” Other times, they might not realize and, depending on my discretion, I would either let them play the phrase again so that they can listen more carefully, or I’d simply demonstrate on the piano and mention areas of improvement. If students record their lessons, they will get to hear it for themselves too! That being said, it is equally important to comment when the tone is good!
Good ears need to be developed—they provide us with the ability to hear details in musical phrasing, which in turn allows us to be our own critic and make consistent progress. This is where “inner conception of sound” comes into play. “Inner conception of sound” means the sound we are striving to achieve—are we going for a true legato singing line? Are we aiming for a percussive sound? Are we conjuring the image of the boat on the ocean? With regards to “inner conception of sound,” a lot more factors come into play, including our life experiences, our musical knowledge of composers and their works, our general knowledge of philosophy, art, history. This foundational knowledge helps us know the artistic image that we want to communicate. One time, I had a marvelous opportunity to play Schubert on a historic Viennese Graf fortepiano (it has five pedals!), and that experience forced me to rethink my techniques and interpretative capability—in other words, how the modern piano may be better persuaded to represent Schubert’s conception of the music.
Can you share some strategies for practicing singing tone with older transfer students who are not experienced with the concept?
With transfer students, it tends to be a little tricky. I think the first task is to expose them (best by demonstration) to what a good singing tone sounds like in the piece they are working on. From there, hopefully they begin to desire to play with that good singing tone. For me, I need that as an entry point as a teacher because I know that the work I will begin to do with them is going to be a lot of hard work.
At one point, I had a young student (early-advanced level) who came to me as a student and played a few pieces during our first lesson. I demonstrated for him with a singing tone, and he immediately wanted to create a better tone. However, his technique could not support his artistic conception. I put his pieces aside and started teaching him to play the major scales that he knows but withtrue legato and singing tone, changing his touch and technique during the lesson. He was playing good cantabile singing lines during the lesson. Even his mum could notice the difference.
Long story short, his desire to play with a good singing tone and to improve his piano technique was greater than his reluctance to start from ground zero. In this process, I also involved his mum, who helped me keep an eye on him at home. After a year of working, this student played Schubert’s Impromptu Op. 90 no. 3, as well as a few RCM level 6 pieces, and won first place in a piano competition.
In the end, their desire for a good singing tone needs to overcome any reluctance that a student may have. Can you come up with ways in which you can convince the student of the need to practice good singing tone? Or might there be some reluctance because of the work involved? In the latter, you could still introduce a singing tone, but you might need to work just as much on building trust and rapport with the student.
I have a student who has fairly good technique (posture, position, etc.), but is very hesitant to be expressive. How can I help them?
How do you encourage reluctant students to play with musicality?
I think these are rather subjective questions that require much experience and discretion on the teacher’s part. If there is any hesitance or reluctance, are you able to find out the reason why they are reluctant? Here, I have listed down all the possible scenarios that I can think of or have come across:
Some students might be taking up piano only as a leisure activity, and are interested in playing their favorite pop songs. In this case, I would go with the flow and make the lessons more about fun and creativity.
Hesitance to be expressive might stem from psychological factors too—what are they afraid or fearful of? Perhaps they might be afraid of being mocked for their expressivity? I would try my best to see if I can try to find out the root cause or trauma, even if it’s not related to playing the piano.
Some are not convinced of the importance of it or need more time to grasp the importance of being expressive or musical. In this instance, I will keep persevering in exposing them to a good singing tone, while using discretion about how much I demand from them.
I have also encountered serious and diligent students for whom emotions and expressivity are not a huge part of their being. Because of that, instead of simply advising them to be more expressive, a more beneficial approach might be intellectual, explaining the principles involved in musicality (eg. how harmonic tension and release and trajectory of the phrase helps in shaping a phrase) and/or a detail-oriented approach where you can notate the intricate details in phrasing and encourage them to apply it to similar passages.
The last case might be that they simply do not have the tools in their toolbox to know how to be expressive at the piano.
What are your thoughts on very “dramatic” players? You know, the performers who use a LOT of extra body motion to show their expressivity. Do you think it’s producing a more singing sound? Is it truly effective?
Flexibility in body movement is required in playing (which means we should never feel like we are locked into a fixed position), and there will certainly be some body movement involved. Yet, ‘extra’ body movement does nothing to contribute to a more singing sound, and in some instances, it can be a hindrance if it gets in the way of the necessary body movements needed to produce the sound. When the upper body has too much unnecessary motion, it can cause frequent interruption or disruption to the position of the arm, which in turn affects the phrasing or, in the case of difficult chordal leaps, it decreases the efficiency and accuracy! I have a real-life example where I was practicing the “Paganini” movement from Schumann’s Carnaval op. 9. As the music is rather staccato and jumpy at the start, I was subconsciously “jumping along” with the music in my upper body and I struggled with both speed and precision. When I decided to see what would happen if I were to sit straight and completely grounded but just allowed my arms and fingers to take charge, my technical issues in this “Paganini” movement were solved almost right away. And the only reason why I say ‘almost’ was because I had to curb my natural inclination to “jump along” with the music, and it took me a while to get used to sitting grounded! This case is an example of how these extra body motion might be an expression of what I feel internally, but it was an obstacle that needed to be removed.
Ultimately, expressivity and singing tone has to do with the touch and distribution of arm weight and finger action into the keys. Facial expressions and extra body motion might make one feel like one is expressing the music, and in most cases, they are also expressions of what the pianist feels internally. Yet, they do not affect the sound produced. The inner feeling or inner conception needs to be communicated through necessary physical motions (arm weight, type of touch etc.), which in turn affects the tone and the phrasing that comes out from the piano.
Any tips or tricks for practically transferring the expressivity heard when a student sings a phrase into expressivity of physically playing the piano?
Singing a phrase is the outcome of what a student wants, which is definitely an important goal. Yet, technique is the factor that influences how much one can practically transfer the expressivity heard into keys, through the physical facilities of the body. From my personal experience, the best way is to learn it from a teacher who is able to teach the “how to.”
What do you do for students who do not have regular access to an instrument that allows for various tone qualities?
I think the minimum that students need is a good upright piano. I teach on grand pianos which will then allow them to access a grand piano at least once a week. Using my discretion about their level, upcoming piano exam, or concert, I have provided additional grand piano access to my students in the past, during the hours that tend to be free, in my university or my church.
Don’t forget! Read Sharon’s article about creating a singing tone by clicking here.
We believe passionately that piano teachers change the world through their dedication to students and communities. Our Power of a Piano Teacher campaign shares personal tributes to document the extraordinary contributions of piano teachers. We welcome you to celebrate your teacher and share your tribute with us by making a donation to the Frances Clark Center via our secure online form. Together, we will further amplify the meaningful work of our noble profession.
Crystal Lee and Curtis Pavey
Without the efforts of all my teachers, I would not be able to live a life full of music, but I want to recognize one piano teacher who made a difference at a critical juncture in my life.
Crystal Lee is a pianist and piano teacher residing in Boulder, Colorado where she maintains a private studio. Crystal is a well-known teacher in Colorado, as are her students who frequently win prizes at competitions and who have studied at some of the top conservatories in the country. I was almost sixteen years old when I met Crystal and her teaching completely changed the trajectory of my life and gave me the expressive skills I wanted. Even though my interest in the piano was all-consuming at this point in my life, I needed to refine and develop my playing if I wanted to achieve my musical dreams. She knew how urgently I needed to advance in order to become a professional musician and she made sure I understood that from the very first lesson with her.
When Crystal accepted me into her studio, she asked me to learn the first movement of a Beethoven sonata and a Chopin nocturne in one week. Both were to be performed from memory for her. I had never learned so much music in a single week, nor was I sure that I knew how to memorize these pieces within such a short timeframe. I spent hours each day that week studying these two pieces hoping that my efforts would pay off in our lesson. After many challenging and frustrating practice sessions, I proved to myself that I could manage this seemingly impossible task. In my lesson I struggled to get through the final page of the sonata but that did not matter; Crystal smiled and assured me it was “nearly memorized,” and this affirmed all of my practice that week. Discovering that I was capable of this helped me to realize that I needed to aim higher in my musical studies and beyond. She always showed me that I could do more than I imagined—I just needed the right direction and a willing attitude.
Crystal taught me the importance of listening to myself and to others with intention. I remember one lesson in which we had an in-depth conversation about the interpretation of Chopin’s Ballade No. 3, a piece I was studying at the time. We spent most of the hour listening to a variety of different recordings noting the special qualities of each. I had never listened to music with that intensity and it taught me how many choices we must make as performers. This was also the first time I was able to communicate my thoughts about someone’s interpretation with a fellow musician. Having the opportunity to share these musical opinions made me feel that my ideas mattered.
Crystal Lee
Throughout my time in Crystal’s studio, her students and I regularly performed in monthly performance classes. We met in small and large groups throughout the year to share musical progress with each other. After each performance, Crystal would ask us to provide comments and talk about what we noticed in our colleagues’ performances. This challenged me to listen critically, especially when I did not know the piece being performed. By modeling how to give specific compliments and constructive feedback, we learned over time to offer similar comments. During the summer, performance class was always followed by a potluck, which allowed us to get to know one another at a deeper level. These experiences helped me find a community that existed neither in my hometown nor in my school. It was through this community that passion for classical music was normalized, allowing me to make friends with the same interests. From this, I learned the importance of building a community and the power of connection through the arts. To this day, one of the highlights of visiting my hometown is making a stop at Crystal’s studio class where I get to see my former studio mates and sight read duets together.
Piano teachers have a fundamental responsibility to teach much more than just music. We are called to teach skills and wisdom to help our students in whatever challenges life sets before them.
One of the most important lessons I learned from Crystal was the power of mentorship. A few years after I left Colorado to attend Indiana University, I traveled to Boulder for a studio alumni lunch. Many of Crystal’s students studied music in college, but several others did not. As each former student shared their current studies and projects, I saw how Crystal’s individual approach encouraged all her students to pursue excellence in every part of their lives. Her students have become successful piano teachers, conductors, playwrights, entrepreneurs, and more. It goes without saying that the patterns that were instilled while we were taking lessons created a lifelong pursuit of excellence. Crystal taught all of us to believe in ourselves—not only as musicians, but also as people capable of accomplishing anything we desired.
Piano teachers have a fundamental responsibility to teach much more than just music. We are called to teach skills and wisdom to help our students in whatever challenges life sets before them. Although I learned so much about music from Crystal, I am most grateful to her for these life lessons I learned as a teenager. I hope that I can impact just one student’s life as positively as she has impacted mine.
Dr. Curtis Pavey is a pianist, harpsichordist, and educator. A performer of works from the 16th through the 21st centuries, he feels equally at home performing or teaching at the piano and the harpsichord. He is currently based in the Cincinnati area and maintains a private piano studio.
