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.
We’re pleased to bring you this extended interview between Awadagin Pratt and Artina McCain. Read more about Awadagin Pratt’s accomplishments as a pianist, conductor, and music education advocate in the Winter 2022-2023 issue of Piano Magazine.Not yet a subscriber? Subscribe now for only $7.99/mo or $36/year.
Awadagin Pratt
Nina Simone was an American songwriter, pianist, and one of the most influential recording artists in the twentieth century. In 2023, her name will also become synonymous with piano competitions at the inaugural Nina Simone Piano Competition, founded by Awadagin Pratt.
Outside of her many successes in songwriting, jazz, gospel, and classical music, she also had an unrealized dream of becoming a concert pianist. In 2021, Pratt won a Sphinx venture grant that allowed for the planning of the competition. When asked what the inspiration was for the event, he stated, “There are many African American pianists who have unrealized dreams of becoming concert artists, just like Nina Simone.”
His inspiration came from another young pianist. “I came across an exceptional pianist who should have had opportunities to begin a career, but it didn’t happen. They were at a good school but did not receive sufficient mentoring from their teacher on how to pursue a career. Knowing that this couldn’t be the only person impacted by a lack of support, we wanted to provide a forum to highlight young African American pianists and to provide a competition platform similar to what Sphinx does for string players… creating more opportunity and high visibility for budding talent.”
There are many African American pianists who have unrealized dreams of becoming concert artists, just like Nina Simone.
Awadagin Pratt
The competition will have three categories: ages 10-13, ages 14-17 and age 18 and older, with no upper age limit. While the competition is centered on classical music, the repertoire is not strictly limited to the standard classical canon. Pianists with abilities in other genres are encouraged to apply and to include some of those works in their competition programs. Pratt believes that one of the strengths of African American pianists is being able to bring culturally specific parts of their background into performance spaces. It’s a gift that should be recognized.
The competition comes with hefty prize money (up to $50,000) and an opportunity to perform with the Cincinnati Symphony Orchestra. Unlike other competitions that have preset concerto lists, applicants can choose concerti from the entire repertoire.
Long term, the goal of the institution is to directly support and help jumpstart the career of 100 pianists and have their talents on the radar of top-tier orchestras in the next ten years. Eventually, they will expand further and start commissioning works for the competition.
Awadagin Pratt
The 2023 winners will be a part of the Art of the Piano festival and the Salon 21 series during the regular season, both presented by Pratt. Applications are due March 1 and the competition will be held June 19-25, 2023. For more information, go to Nina Simone Piano Competition.
You can read more about Awadagin Pratt’s accomplishments as a pianist, conductor, and music education advocate in my interview with him for the Winter 2022-2023 issue of Piano Magazine.
Artina McCain is an acclaimed pianist, educator and speaker. Known for promulgating the work of Black Composers, she has 5 award winning albums and arranged 24 African American Folk Songs for the Hal Leonard series. Currently, she is the coordinator of Keyboard Area at the University of Memphis.
THIS WEEK IN PIANO HISTORY, we remember composer (Charles) Ignatius Sancho who died on December 14, 1780. Sancho, also an abolitionist and writer, impacted eighteenth-century British literature and culture. Sancho’s life began tragically as he was born on a slave ship headed for South America. Both of his parents died in his infancy—his mother died from disease and his father committed suicide in order to avoid slavery.
His name is similarly complicated. Sancho went by Ignatius (given at his baptism) in his later life after he stopped using his first name, Charles.1 Compared to the squire of Don Quixote named Sancho Panza, he received the last name Sancho due to his lifelong struggle with his weight.2 He worked as a slave in Greenwich, England before being discovered by John, Second Duke of Montagu. John was impressed with Sancho and frequently invited him to the Montagu house where he was later hired by the Duchess of Montagu. When she passed away, the salary and inheritance he received helped him to purchase property, vote in British parliamentary elections, and continue his self education. After a challenging time in which he lost most of that money, Sancho went back to work for the Montagu family and became acquainted with a number of important members of British society. From there he later opened a grocery shop in Westminster with his wife, before dying in 1780 from complications related to gout.
Rehearsal video of Reginald L Mobley and Henry Lebedinsky of Agave singing Sancho’s song Sweetest Bard for their recording project, “American Originals”.
After his death, his letters were published in a subscription series and were extremely popular. His writings are important documents from the time, giving firsthand accounts of slavery, which were uncommon at the time due to illiteracy of slaves. His intellect and impressive writing style made a large impact on British people of the time, showing that African slaves were capable of great talents and abilities. His writings were even used to help justify the end of the Slave Trade. In addition to being the presumed first Black man to vote in Britain, Sancho was also the first to receive an obituary in the British press, demonstrating his recognized place in eighteenth-century British society.3
Sancho wrote a number of pieces that involve the keyboard including A New Collection of Songs, Twelve Country Dances for the Year 1779 for harpsichord, and a set of minuets and other dances. Many are dedicated to members of the upper class and even British royalty. Although Sancho was an amateur musician and his compositions are often on a smaller scale, his works are of significant pedagogical value, demonstrating English genres in the popular galant style of the time. Sancho’s Twelve Country Dances for the Year 1779, for instance, contains a number of early-intermediate level dances in Baroque and early-Classical styles.
Some of Sancho’s music can be heard in the video recording below by pianist Duane Hulbert and in this recording of Sweetest Bard performed by countertenor Reginald Mobley and keyboardist Henry Lebedinsky.
Pianist Duane Hulbert performs keyboard music of Ignatius Sancho.
Sources
Vincent Carretta, “Sancho, (Charles) Ignatius (1729?–1780), author,” Oxford Dictionary of National Biography (23 Sep. 2004; Accessed 27 Nov. 2022), www-oxforddnb-com.uc.idm.oclc.org/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-24609.
Ibid.
Ibid.
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 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.
Leah Claiborne on the far right, directly next to her teacher, Carole Ann Kriewaldt (red shirt)
In the summer of 1995, I had no idea the path my life would take once Carole Ann Kriewaldt entered my life.
It’s amazing the small details you remember in pivotal moments of your life. My mom informed me that we would be meeting with a woman to see if she might accept me as a piano student. My mom made it very clear that this was not a lesson—it was a trial, an interview, nothing had been decided yet. Five-year-old me heard this and thought, “challenge accepted!” I wanted to do whatever it would take to be able to start piano lessons.
Before going to Broken Reed Court, my soon-to-be second home, I asked my mom if I could wear my favorite summer dress. It was a white linen dress that had big strawberries all over it. I thought it was the prettiest dress ever made, and I only wore it for special occasions. My mom obliged, so I quickly changed and got in the car.
When my parents knocked on the door to this brown townhouse, the door opened and this towering woman stood there. She invited us in; the house smelled like French-vanilla candles. My parents sat down and I remember knowing I should have sat down right next to them—but I didn’t. I went straight for the piano bench. It’s amazing to think how small I must have been because I struggled to get on top of the bench—but I was determined. When my parents saw this struggle, my dad called my name. Before I could get off the bench to go sit next to him, I was lifted up by this woman. She took me into her arms, looked straight at me and said, “Well, aren’t you the prettiest strawberry shortcake I have ever seen!” (She was on my side.)
Leah Claiborne and Carole Ann Kriewaldt
She positioned me on the bench and sat down right next to me. She said that she was going to show me where middle C was on the piano. Before she could stretch out her hand to do so, I put my thumb on middle C. And then with some makeshift fingering I said, “CDEFGABC, and then it keeps repeating.” She said, “OH!!!! We have a smart one here, don’t we, Strawberry Shortcake?”
I laughed so hard and questioned momentarily if she knew my name wasn’t Strawberry Shortcake. It was a laugh that I would continue to experience only with her. I looked at my parents and they approved with laughter. At that moment, I didn’t realize that those three people were always, always going to be on my side. They were there making sure I worked to my best ability, moving mountains on my behalf until I realized that I could move them on my own.
It’s hard to capture a twenty-five-year relationship. The moments I think about most have nothing to do with music, but it all started there.
She taught me that every student’s voice is unique and there is something incredibly special about them that the world needs to hear.
Mrs. Carole was home. She had an open-door policy (literally), and she was a person I knew would always be awake in the middle of the night for a phone call (she never slept)! Our relationship became one that held every dream, secret, desire, problem, fear, or ambition of mine. She knew it all. Before any recital, performance, or competition she would say, “Go knock em’ dead, kid” in her big southern, Texas accent. She nurtured what it meant to be “Leah” and made me believe that the world needed to hear from me.
I vividly remember one holiday when we went shopping for red boots for her granddaughter. We went all over town looking for these boots and I was just so happy to be spending the day with her. In one store a sales associate asked her, “Now, who is this little one in relation to you?” Mrs. Carole said, “That’s my grand baby!” The sales associate was shocked by her response, and it never occurred to me why. But now, I imagine that in our little town, a German woman born in Texas, saying a little Black girl was her granddaughter might have been shocking to some. I reflect on this a lot because it is a constant reminder to me how music has a profound way of building deep relationships, and how music cuts through social barriers with shared culture and life experiences.
The greatest lesson I learned from Mrs. Carole is the lesson I try to give to each of my students every week. She taught me that every student’s voice is unique and there is something incredibly special about them that the world needs to hear. We have the privilege as educators to tap into that voice, through music, and prepare them to step out on any “stage” with the confidence of knowing that the world needs to hear from them.
Leah Claiborne, D.M.A. promotes diversity in the arts by championing piano music by Black composers in her performances, research, and teaching. She serves as Director of Diversity, Equity, and Inclusion for the Frances Clark Center/National Conference of Keyboard Pedagogy.
We would like to thank Florencia Zuloaga for collaboration on this post. We encourage you to watch Florencia Zuloaga’s archived webinar here: “Compositores Mujeres de latinoamerica y la península ibérica“ in Spanish with Ester Vela and Gabriela Calderon Cornjego.
Lita Spena
1. Lita Spena (1904-1989) was a student of acclaimed Italian piano pedagogue Vicenzo Scaramuzza.
Vincenzo Scaramuzza was a pianist and pedagogue who left his native Naples, Italy and relocated to Buenos Aires, Argentina in the early 1900s. After a successful career as a performer, he established himself as one of the leading pedagogues in Argentina. His pedagogical legacy includes pianists Martha Argerich, Enrique Barenboim, Bruno Gelber, and Sylvia Kersenbaum, among many others. Scaramuzza’s pianistic genealogy is quite prolific as well, branching into younger generations: Daniel Barenboin (son of Enrique), Ingrid Fliter (student of Elizabeth Westercamp), Nelson Goerner (student of Carmen Scalccioni), and Horacio Lavandera (student of Antonio De Raco), among many others.
Vicenzo Scaramuzza
An excerpt from Stravinsky’s Les Noces
2. Spena played at the Argentine premiere of Stravinsky’s Ballet Les Noces (“The Wedding”).
The Argentine premiere was in 1926 at the Teatro Colón, the country’s most renowned opera house. The Neoclassicist influence of Stravinsky’s compositional style is evident in Spena’s own piano works, which showcase the use of unprepared dissonances, contrapuntal practices often regarded as a “return to Bach,” and formal structures and textures reinstating a Classical approach.
3. The closing movement in Spena’s Piano Sonata is titled “Toccata.”
Lita Spena’s Sonata is the first documented piano composition based on the toccata genre written by an Argentine composer. Spena’s toccata features the prototypical use of engine-like motion characteristic of this genre. By using a toccata as the closing movement of a larger work, Spena follows the precedent set by French composers Debussy (Pour le Piano) and Ravel (Le Tombeau de Couperin).
“Toccata” from Lita Spena’s Piano Sonata
4. Spena was a member of the chamber group Trio Argentino, with Celia Torrá on violin and Blanca Cattoi on violoncello.
Furthermore, Spena and Torrá were among the first female composition students at the National Conservatory of Music and Theater, which was founded in 1924. Spena and Torrá both wrote piano sonatas during the 1930s; in both cases, they dedicated their piano sonatas to Athos Palma, who was appointed professor of Harmony at the National Conservatory during that period.
5. Titled “Little water trail,” the closing movement in Spena’s Piano Preludes features fast, undulating figures written in parallel fourths.
This figuration is similar to Czerny’s Op. 140 No. 4 and Clementi’s Gradus ad Parnassum No. 17. Beethoven’s Diabelli Variation No. 23 is another example of composers paying homage to this unmistakable technical figuration. Such undulating figures are a representation of the resplendent, dazzling effects of running water, and the continuous rhythmic pattern continues almost uninterrupted for the duration of the prelude, making it a miniature “tour de force.” The compositional approach of pairing instrumental virtuosity with programmatic titles that refer to water has great precedent in the piano literature; some examples include Ravel (Jeux d’Eau), Debussy (Jardins sous la pluie), and Liszt (Au bord d’une source, Fountains of the Villa d’Este).
García Muñoz, Carmen. “Spena.” In Diccionario de La Música Española eHispanoamericana, edited by Emilio (dir) Casares Rodicio, 10:56. Madrid: SGAE, 2002.
Lian, Marcelo G., “The Pedagogical Legacy of Vicente Scaramuzza: The Relationship Between Anatomy of the Hand, Tone Production, and Musical Goals” (2013). Student Research, Creative Activity, and Performance – School of Music. 66. https://digitalcommons.unl.edu/musicstudent/66
Songwriter George Gershwin (1898 – 1937) at a piano. (Photo by Evening Standard/Getty Images)
THIS WEEK IN PIANO HISTORY we celebrate the premiere of Gershwin’s Piano Concerto in F on December 3, 1925 in New York’s Carnegie Hall with Gershwin at the piano. After the success of his Rhapsody in Blue, Gershwin set out to prove to the classical musical world that he could handle a traditional classical form and the challenge of orchestration.
Gershwin through the years
Commissioned by Walter Damrosch and the New York Symphony Society, Gershwin composed the concerto over several months in the summer of 1925. Gershwin completed much of the composition in a practice shack at the Chautauqua Institution, an educational center in Chautauqua, New York. Unlike the Rhapsody in Blue, which was orchestrated by Ferde Grofé, Gershwin wanted to orchestrate his concerto and spent several months studying orchestration and getting feedback from other talented arrangers and orchestrators. He finished the orchestration in November 1925, just in time for the premiere in December of the same year. Gershwin remarked about the concerto: “many persons had thought that the Rhapsody was only a happy accident… I went out to show them that there was plenty more where that came from.”1 The premiere of the piece did not see the same success as the Rhapsody in Blue, though it was positively critiqued by the likes of Rachmaninoff.
Score of Gershwin’s Piano Concerto in F
The concerto is a three-movement work in a traditional fast-slow-fast scheme. Gershwin uses elements of jazz such as the blues scale, call-and-response figures, syncopation, and more to evoke sounds similar to the musical style of the Rhapsody in Blue. The first movement, marked “Allegro,” is in sonata form and begins with a short orchestral introduction before the piano enters with a bluesy solo spotlighting the pianist. Two themes from the orchestral and piano introductions stand out: a dotted figure introduced first in the bassoon part, and this jazzy, nostalgic theme presented in the piano.2 The first movement is characterized by several changes in mood and tempo, a heavy reliance on the two main themes, and thick chordal writing for the piano soloist. The second movement, marked “Andante con moto,” is intimate with a significant number of solos performed by the flute, trumpet, oboe, and horn. Jazz influence is abundant here, recalling melodic gestures directly from his Rhapsody. After a robust cadenza and a lyrical middle section, the piece seems to gain in intensity, only to fade away. The hustling and driving third movement marked “Allegro agitato” contains seemingly endless repeated notes and great rhythmic vitality. Ending with a transformed and romanticized return of the original piano theme from the first movement, this concerto effectively combines elements of American popular styles with classical approaches to form and the piano concerto genre.
Gershwin’s original approach to musical composition in the early twentieth century was noted by many composers. Gershwin had a lifelong fascination with the music of Debussy and Ravel. He tried to study with Nadia Boulanger and Maurice Ravel, both of whom denied his request with Ravel famously saying “why become a second-rate Ravel when you’re already a first-rate Gershwin?”
Even Arnold Schoenberg, whose musical sound world seemed to be at total odds with Gershwin’s jazz-infused writing, noted the unique contributions of Gershwin’s style. Schoenberg eulogized Gershwin stating that he “was one of these rare kind of musicians to whom music is not a matter of more or less ability. Music, to him, was the air he breathed, the food which nourished him, the drink that refreshed him. Music was what made him feel and music was the feeling he expressed. Directness of this kind is given only to great men. And there is no doubt that he was a great composer. What he has achieved was not only to the benefit of a national American music but also a contribution to the music of the whole world. In this meaning I want to express the deepest grief for the deplorable loss to music. But may I mention that I lose also a friend whose amiable personality was very dear to me.”3
Want to listen to Gershwin’s Piano Concerto in F? Check out this recording from the Van Cliburn International Piano Competition 2022 with finalist Clayton Stephenson at the piano and Marin Alsop conducting the Fort Worth Symphony Orchestra.
What he has achieved was not only to the benefit of a national American music but also a contribution to the music of the whole world.
Arnold Schoenberg on George Gershwin3
Clayton Stephenson performs Gershwin’s Piano Concerto in F with Marin Alsop conducting the Fort Worth Symphony Orchestra.
Sources
Herbert Glass, “Concerto in F,” Program Notes, Los Angeles Philharmonic, laphil.com/musicdb/pieces/1441/concerto-in-f.
Michael Thomas Roeder, A History of the Concerto (Portland, OR: Amadeus Press, 1994), 421.
Martin Buzacott, “The Unexpected Friendship Between Gershwin and Schoenberg,” Classically Curious (blog), Australian Broadcasting Corporation, March 18, 2019, abc.net.au/classic/read-and-watch/music-reads/classically-curious-gershwin-schoenberg/10915460.
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 Jason Sifford about utilizing improvisation and percussion activities in the piano lesson. Today, Jason is answering those questions in advance of our creative music making webinar, “Incorporating Improvisation, Composition, and Non-Traditional Instruments in Piano Lessons” with Jason and his co-presenters Grace Huang and Kevin Woosley.
We encourage you to join us for this live webinar on Wednesday, December 7, 2022 at 11am Eastern. Register by clicking here.
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.
What first inspired you to start incorporating improvisation into your teaching?
I often notice students doing things that make good musical sense but aren’t in the score. Improvisation is like a musical playground, a safe place where you won’t be criticized for playing forte when it’s “supposed” to be piano, or when you want to end a piece on a major chord instead of a minor chord.
What do you do to build confidence in students who are hesitant to improvise?
For hesitant improvisers, we’ll just dip our toes in the pool. Rather than face a blank slate, we’ll take a piece they’re working on and change one element of it—rhythms, notes, or change the style (turn a lyric piece into a scherzo, or swing the eighths in a Classical sonatina.)
What would you say to a teacher who is intimidated to improvise themselves, much less teach improvisation?
I’d suggest finding some other musicians to play with, and try something besides piano! Several years ago, I had some friends in an Irish folk ensemble, so I got a cheap tin whistle and joined some of their sessions. I was awful! But it took me out of my comfort zone, and I found myself taking chances that I wouldn’t have done seated at a piano. So…look for an Irish session, a drum circle, play tambourine in a rock band, anything to put yourself in an unfamiliar situation.
Do you have an order or “curriculum” for improvisation that you give your students? If so, what are your first few foundational activities?
I don’t have a set curriculum. Since every student is different, I tend to build activities out of the repertoire they’re playing. This way, the activities are always level-appropriate and in a style the student is already exploring.
Do you have students give their improvisations titles? If so, what are the one or two most creative titles you’ve seen students give?
Most recently, a student of mine was playing a piece called “Somber Procession.” He came up with a really upbeat version of the tune which he called “Not-So-Somber Procession.” We even treated it like two different pieces. I told him that for our MTA festival, he had to play “Somber Procession,” but he could also play “Not-So-Somber Procession” at the recital!
How would you go about incorporating improvisation in the group setting? I want it to be truly group participation, but find that some students are much more shy than others when it comes to creative music making.
I’ve only done small groups of three or four students, so I’ll have the most fearless improviser handle the melody, put another courageous soul on percussion, and have the reluctant improviser handle a bass line (either written-out or taught by rote.)
Do you use improvisation activities in every lesson?
I don’t. It’s one of those things that’s in the toolbox—I bring it out if I think it’ll be useful or provide a change of scenery, but I always try to remind myself that I can’t do it all. We have to feel good about what we do in a lesson and avoid feeling bad about what we didn’t do. (Because the list of things we did do is always going to be bigger than the list of things we didn’t!)
For intermediate students who are learning modal scales, how would you suggest incorporating the modes into improvisation?
Since I tend to build improvisation exercises out of repertoire, I look for pieces in different modes or invent simple left-hand parts that suggest a particular mode or style.
Percussion Activities
What percussion instrument(s) have been student favorites?
I have a drum machine that I keep on top of the piano. They love it!
Where can you buy percussion instruments to use in lessons?
I’m lucky enough to live a mile from the West Music headquarters. They specialize in educational/classroom music and always have a lot of great items at the store. (And they have a great online shop that I’ve used in the past, too!)
Do you have any favorite collections of beginner percussion/piano duets?
I don’t! Almost all of our percussion work is improvised. I made some simple flash cards with rhythms on them that we’ll use, or I’ll teach them some basic drum set patterns (which I usually learn from YouTube tutorials!) The trick is to keep it simple. Have a Latin piece? Grab a plastic egg shaker and play eighth notes. That’s really all you need!
Do you use percussive instruments with students of all levels? If so, could you provide some examples? Sometimes I have a hard time thinking beyond quarter-note activities.
As students get older and more advanced, I tend to encourage them to explore their school jazz and marching bands. Piano students are a perfect fit, and I find that school ensembles are often better equipped to provide the social interactions and aural experiences that help take kids to that next level.
Don’t forget! Register for Jason’s upcoming webinar on creative music making by clicking here.
Book reviews in each issue of the Piano Magazine provide readers with a sneak peek inside the latest publications on piano teaching, performing, and learning. The Autumn 2022 Piano Magazinereview of Every Good Boy Does Fine by Jeremy Denk will have you running to your local bookstore to buy a copy. Fans of Denk will find this review by Ann DuHamel to be as inspiring, witty, and insightful as Denk’s own writing. We welcome you to read the complete review here and subscribe to enjoy more excellent reviews in Piano Magazine.
…that is the point of this book: a love for the steps, the joys of growing and outgrowing and being outgrown.
Jeremy Denk
I am secretly, or not so secretly, if you ask my husband or any student who has lived through my Piano from Bach to Jazz class, a huge fan of Jeremy Denk. Yes, he plays marvelously; but beyond his artistry at the keyboard, I’m completely, utterly enamored of his gift with words. Reading his (now archived) blog Think Denk was a frequent pleasure during my doctoral program. I found it poetic, poignant, humorous, and occasionally heartbreaking. When I learned of the publication of Every Good Boy Does Fine, I counted down the days until it arrived. The short review of this book is: if you haven’t already read it, purchase it immediately, and read it now. Do not pass “Go,” etc. Keep in mind, I’m an awkward and nerdy bibliophile who, like Denk, much prefers Brahms to Rachmaninoff, so I identify strongly with most every sentence in the book.
You, gentle reader, probably seek a more nuanced take beyond my exhortation. This memoir reflects on Denk’s life, pianistic and otherwise, through his doctoral work at Juilliard. He structures the narrative in three overarching sections, “Harmony” (pre-college), “Melody” (undergraduate years at Oberlin), and “Rhythm” (time in Bloomington, Indiana, studying with György Sebok, and after). Each section is subdivided into six or seven parts; musical lessons and commentary alternate with biographical chapters.
Denk describes every pianist’s foibles and tribulations in true and hilarious ways: “having two hands makes the piano impossible”1 and, “Will I ever be done with the thumb? The answer was No, never.”2 His aphorisms brilliantly sum up the importance of listening, frequently recalling his beloved mentor Sebok: “Remember…the music is not the notes. It is between the notes.”3
He illuminates the importance of the score and textual detail: “when the composer’s marking seems most insane is when you need to pay the closest attention”4 and, most marvelously, “the written page of music was a treasure map.”5
The musical observations merge with philosophy, undergirding Proustian reflections about how time, music, and memory intertwine. This is what I so enjoy about reading Denk: he is a philosopher and a poet, searching for deep meaning, giving voice to what we quest for in our lives. Music simply happens to be the metaphor he uses in his writing, from the Bach B-minor fugue of WTC I, “a journey from known to known, via unfathomable mystery”6 to the Chopin F-minor Ballade, which “…carries a truth: You do not decide where to go, and then begin going there. In real life, while you are deciding where to go, you are already traveling.”7
Lest you think it’s all heavy lifting, Denk’s wry humor is also on full display. In describing various musical elements, he utilizes wonderful and bizarre analogies—Wile E. Coyote, taxidermied squirrels, cars sliding into snow drifts, the wardrobe leading to Narnia. He pokes a fair bit of fun at himself too: what other kid proclaims the PBS opera album as their “new life soundtrack”8 or writes a “manifesto for a utopian society”?9 Even so, or because of this, when he reveals his epiphanies and shares his successes, you the reader rejoice along with him.
Jeremy Denk
At the top of each chapter, Denk offers a curated playlist, featuring the works he discusses within. These works range from Bach to Messiaen, Monteverdi to Elliot Carter, and include Barbra Streisand singing Gounod’s “Ave Maria” and Nina Simone. The annotated appendix provides greater detail, including his recommendations for recordings and the word “Bachitude,” which I have now added to my lexicon.
This is a coming-of-age story. It is also a love story, primarily to the teacher who serves as mentor and guru. Denk shares pages of uplifting anecdotes from Sebok: lessons about beauty, about ennobling oneself, about teaching and discovery, demonstrating the utmost importance of one’s teacher in molding the musician and the human being.
The book is, in Denk’s words from the opening Prelude,
“…the story of piano lessons: obsessive repetition, climbing toward an unknown goal that rewrites itself, once achieved. The truest realizations aren’t at the peak, but are discovered almost by surprise, and through release, by passing back down the old, same steps. …that is the point of this book: a love for the steps, the joys of growing and outgrowing and being outgrown.”10
And what a beautiful testimony to the steps this book is indeed. I find myself, in the days and weeks after reading the book, approaching my practice differently, through a Denk-ian lens. In the appendix, regarding Mozart K. 545, Denk poses the question, “How can you teach, and still be transcendental?”11 I daresay this book is a masterclass in exactly how to teach and still be transcendental. (Random House, 2022, 384 pages, $28.99 hardcover and other formats available).
NOTES
1 Jeremy Denk, Every Good Boy Does Fine (New York: Random House, 2022), 27. 2 Ibid, 47. 3 Ibid, 258. 4 Ibid, 178. 5 Ibid, 278. 6 Ibid, 104. 7 ibid, 107; Denk is specifically referencing the returning melody in mm. 134–135 with this quote. 8 Ibid, 23. 9 Ibid, 49. 10 Ibid, xi. 11 Ibid, 342.
A map of the United States with push pins indicating the locations of the teachers honored in this post.
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. From Massachusetts to Hawaii, students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign.
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.
Paz Rivas honors Penny Lazarus from Newburyport, Massachusetts
Penny has been a blessing in my daughter’s life. Penny has helped her gain confidence and has created a sense of discipline, consistency, and fun in learning that was and continues to be so important to her right now. Last but not least, Penny is patient and kind, and my daughter loves learning how to play piano. Penny is so special, she approaches each lesson with such enthusiasm and passion after so many years of teaching (especially with the youngest students). We are grateful to have found her, and Newburyport is lucky to have her.
Penny Lazarus
Betty Todd Smith
Merrie Skaggs honors Betty Todd Smith from Olathe, Kansas
Betty Todd Smith personifies the “Power of a Piano Teacher,” and I am delighted to recognize her. Betty has made a difference in my granddaughter Rylee’s life with Betty’s encouragement, finesse, knowledge base, and passion for piano. Rylee observed recently, “I may go into my piano lesson in a bad mood but I come out in a good mood.” The care and feeding of her soul that Rylee receives from Betty and piano have been immeasurable. Rylee is an active athlete and as she started high school this fall, I asked her if she planned to continue with piano throughout high school. She looked at me like I had two heads and said, “Of course, Granny!” I appreciate the positive impact that Betty and piano have made on Rylee’s life.
William Hughes honors Margaret Roby from Terre Haute, Indiana
Margy’s teaching career has been exemplary in every way. All of her students know she is interested in more than their piano progress. She is a nurturer by nature, and her students have always been devoted (as have their parents!). I have had the pleasure and privilege of working with students that she has sent to study with me. In every case, they had been expertly prepared and were a joy to work with—no “transfer repairs” necessary. She has been a leader in our local and state music teachers associations and is an inspiration to all of us.
All of her students know she is interested in more than their piano progress.
Donald Zent
Daniel Tsukamoto honors Donald Zent from Wilmore, Kentucky
When I first met Dr. Zent at Asbury University, I noticed his sweetness and meekness, but I never realized how much he was going to change my way of performing piano. He demonstrated that I don’t need to play loudly all the time, and he gave me the liberty to select pieces that interested me. He was very compassionate when helping me find another way to memorize piano pieces besides listening. He was calm in demeanor and spent equal time with each of his students. I am thankful for his guidance during my student years at Asbury University.
Lloyd Lim honors Carolyn Stanton from Honolulu, Hawaii
Carolyn Stanton is my sixth piano teacher, and I made surprising progress over a five-year period. They say you can’t teach an old dog new tricks. Well, I’m an old dog, and I still learned a lot!
Carolyn Stanton
Madelyn’s inspiration helped to make my dream come true!
Sarah Roy honors Madelyn Trible from Lafayette, Louisiana
Madelyn was my first piano teacher as I began a bachelor’s degree program in vocal music education. After three years of lessons, she encouraged me to take a pedagogy class. I loved working with the two fifth-grade girls assigned to me that semester. Eleven years after that degree, I returned for three more years of lessons with Madelyn. Then I studied organ for three semesters, since I had a dream of playing in a church someday. I have been an organist in a small rural church since October 2013. Madelyn’s inspiration helped to make my dream come true!
THIS WEEK IN PIANO HISTORY, we reflect upon the resignation of Ignacy Jan Paderewski as Prime Minister of Poland on November 27,1919.1 An important pianist, composer, and statesman, Paderewski’s influence and legacy in Polish culture and early twentieth-century politics is undeniable.
Paderewski through the years
Paderewski was born in Kursk, Podolia, which is now part of Ukraine. He had a complicated childhood as his mother passed away after his birth and his father was arrested due to his suspected involvement in a political uprising. Despite the challenges his family faced, Paderewski studied piano as a child and showed great potential. His talent helped him find opportunities to study in the Warsaw Conservatory and to establish himself as a pianist and composer. His challenges did not stop there—after marrying his first wife, Antonina, they produced a son named Alfred. Both Antonina and Alfred died young, causing great distress to Paderewski. He also struggled professionally, barely making ends meet through his musical career.
Paderewski’s Piano Concerto in A minor, Op. 17
After traveling to Berlin, Paderewski met a number of important composers who encouraged his career.2 This experience led him to the opportunity to study with Theodor Leschetizky, a highly respected piano teacher of the nineteenth and twentieth centuries. From here, Paderewski was able to establish himself as a performer, touring the United States and Europe. One of Paderewski’s most popular pieces was his Piano Concerto in A minor, Op. 17, written in 1888. The piece, dedicated to Leschetizky, is infrequently performed today, but contains a variety of technically challenging passages in a typical Romantic style.
As a performer, Paderewski was well respected as a masterful and spontaneous performer. He frequently personalized his interpretations of other composers’ works noting: “It is not a question of what is written, it is a question of musical effect.”3 Despite the public’s admiration, Paderewski greatly struggled with nervousness throughout his concert career, frequently taking extended breaks in order to recover from the strenuous concert schedule he maintained.
Paderewski’s role in Polish politics is complicated. Throughout his life, Paderewski often championed causes for Polish independence. Poland was frequently partitioned by neighboring empires in Austria, Germany, and Russia prior to gaining independence in the twentieth century. During the First World War, Paderewski made Polish causes a focal point of his public activities. Woodrow Wilson, then President of the United States, requested his help in securing votes for his presidency in return for supporting Polish independence.4
A rare recording of Paderewski performing Chopin’s “Heroic” Polonaise in A-flat Major, Op. 53
After the war ended, Paderewski was tapped by Józef Piłsudski, then the Polish Chief of State, to become the Prime Minister of Poland. He was ousted after less than a year in the position due partially to his underdeveloped leadership skills. Although Paderewski represented Poland again in 1920 in political office, he again resigned and returned to pursue a career in music before dying on June 29, 1941 in New York City.
Looking back on Paderewski’s life and career, it is clear that Paderewski frequently overcame obstacles that challenged him personally and professionally. His legacy as a pianist and statesman shows the results of his tireless efforts to find purpose and success in his difficult life.
Sources
Some sources give conflicting dates (December) for Paderewski’s resignation as Prime Minister of Poland.
Jim Samson, “Paderewski, Ignacy Jan,” Grove Music Online, 2001, accessed 15 Nov. 2022, www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000020672.
Ibid.
Ibid.
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.
