News

Piano Inspires Podcast: Annie Jeng



To celebrate the latest episode of the Piano Inspires Podcast featuring Annie Jeng, we are sharing an excerpted transcript of her conversation with Craig Sale. Want to learn more about Jeng? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Jeng on Apple Podcasts, Spotify, YouTube, or our website!

Annie Jeng - A Seat at the Piano
Annie Jeng.

Annie Jeng: When I started the project [A Seat at the Piano], it was difficult because I was born in America, I’m Asian American, but I didn’t know if I was the right person to be doing this work, which sounds weird.

Craig Sale: Yeah, tell me about that.

AJ: Within the music and piano community, I don’t think I’m necessarily a minority. There’s a lot of students and pianists who are Asian, and I knew that I wanted to lift up the voices of a lot of my BIPOC peers and friends. I just wanted to make sure that I was doing it thoughtfully, that I wasn’t mishandling a lot of information, and [that I was] presenting it in a way that was respectful. 

I remember, actually, I called up Leah Claiborne when I started doing all of this. I was like, “I’m working on this project. Do you think this is okay? Am I an okay person to be doing [it]?” She’s like, “Well, yeah, I think this is important work.” And I mean, I’m not gonna try and quote her because this was many, many years ago, but just to have that comfort [that] this work needs to be done and this work needs to be shared. I think the fact that I was even thinking about that, hopefully, that by itself, was showing that I really do care about this, and I want it to be done in the right way. 

CS: Yeah. With this subject and when you’re dealing with issues of diversity and trying to bring people in who haven’t been invited in, it’s important to recognize them, give them their own space in place. And it sounds like you didn’t want [to], you were afraid of perhaps intruding on that a bit.

AJ: Yeah.

CS: All I can say is, you know, all one can do is, first of all, embrace the cause because it’s that’s pure and good, but then seek help and advice. You did that when you reached out to Leah, and then you have these other people that joined you. I think that takes some of the pressure off when you have other voices around you. It’s an interesting situation to be in when you’re trying to do good, but you also don’t want to be offensive. 

AJ: Exactly. I think that what you just said is totally right. And it felt really good to not have to have all that pressure once I started to ask for advice and to ask for help and to build our team. Expanding the team was so wonderful because my team members also then brought in their perspectives and their thoughts and their expertise. Just within personalities, we were able to complement each other really well.

CS: And the end product is… Well, it’s not an end. It is continuing. 

AJ: Oh yeah, it’s forever going. [Laugh] I had someone today ask me, “Well, what about four-hand and duo music?” And I said, “Hopefully one day!”

CS: It’s right. When you’re uncovering a whole new world, it’s a whole new world, not just little pieces. There’s a lot to do there. But you know, I think that the result where you are now is just a tremendous asset for us, and it’s a big step forward in our profession, and it’s a wonderful resource.

AJ: Thank you, and it’s really inspiring to see that this is [a] lasting change. Yeah, we’ve gone over the fact that this is not a phase, this is here to stay, and it’s only going to get bigger and more impactful from here.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Annie Jeng on Apple Podcasts, Spotify, YouTube, or our website!


A Master at Work: Marvin Blickenstaff



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

Marvin Blickenstaff receiving the MTNA Lifetime Achievement Award in 2009, with Gail Berenson and Gary Ingle. 
Marvin Blickenstaff receiving the MTNA Lifetime Achievement Award in 2009, with Gail Berenson and Gary Ingle. 
Photo: Harry Butler Photography, Copyright MTNA 2023.

Marvin Blickenstaff is an amazing pianist and teacher, respected and revered by all who have met him. He is also one of the kindest and most giving individuals I know. I have learned something valuable in every presentation I have heard him give, and these have been numerous. No matter what the topic, how large the audience or how prestigious the event, attendees are provided a stellar, educationally stimulating presentation and leave the event with countless essential teaching strategies that will revolutionize their teaching. Marvin offers an incredibly wide range of topics, each of critical importance to teachers and presented in a way that captures everyone’s attention and benefits all who are in attendance.  

Watching him work with students in a master class setting is a pedagogy class for all in attendance. Every student I have seen work with Marvin departs the stage feeling excited about their performance and eager to try out the new ideas he suggested they consider when they return home. And those in the audience have had the privilege of seeing a master at work, both for the concepts he is teaching and the way in which he nurtures the students’ love of music.

Not only is Marvin a gifted teacher and lecturer, but he is also a magnificent performer. I will never forget hearing him perform a recital of all the Chopin Preludes. It was amazing and memorable! It is easy to understand why Marvin Blickenstaff is so in demand as a guest artist/clinician, having presented in nearly every state and around the world. I am honored to count Marvin as a friend and want to extend my best wishes to him!


The Marvin Blickenstaff Institute for Teaching Excellence

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

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

MORE ON THE POWER OF A PIANO TEACHER

Not yet a subscriber? Join for only $7.99/mo or $36/yr.

Conference Sales

Welcome to the Frances Clark Center Booth!

15% off

Periodicals

Piano Magazine Selected Covers
Piano Magazine

A quarterly magazine for professional pianists and teachers.

Regular Pricing:
Digital: $3/month
Print + Digital: $4/month

Piano Inspires Kids

A quarterly magazine for piano students.

Regular Pricing: 1-4 subscriptions
Digital: $2.08/month each
Print + Digital: $2.49/month each

Regular Pricing: 5+ subscriptions
Digital: $1.67/month each
Print + Digital: $2.08/month each

20% off

Student Publications

From Rote to Note cover image
Rote to Note

Regular: $11.99
Conference Price: $9.59

From Rote to Note, Book 2 by E.L. Lancaster and Omar Roy
Rote to Note, Book 2

Regular: $15.99
Conference Price: $12.79

Technique Through Repertoire, Book 1

Regular: $11.99
Conference Price: $9.59

Technique Through Repertoire, Book 2

Regular: $13.99
Conference Price: $11.19

New! Didn’t My Lord Deliver Daniel

Regular: $19.99 each
Conference Price: $15.99 each

20% off

Reference Publications

Tall Column - Piano Literature for Teaching and Performance: 2023-2024
Piano Literature for Teaching and Performance
By Jane Magrath

Regular: $59.99
Conference Price: $48.00

Inspired Piano Teaching by Marvin Blickenstaff
Inspired Piano Teaching
By Marvin Blickenstaff

Regular: $49.99
Conference Price: $39.99

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

Regular: $39.99
Conference Price: $31.99

20% off

Legacy Publications

Questions and Answers: Practical Advice for Piano Teachers
By Frances Clark

Regular Price: $35.00
Conference Price: $28.00

The Success Factor in Piano Teaching: Making Practice Perfect
By Elvina Pearce

Regular Price: $35.00
Conference Price: $28.00

A Piano Teacher’s Legacy: Selected Writings by Richard Chronister

Regular Price: $35.00
Conference Price: $28.00

20% off

Full Courses

Orange Piano Logo Thumbnail Image
A Pianist’s Guide to Studio Management

Regular: $79

Dark Blue Piano Logo Thumbnail Image
A Pianist’s Guide to Teaching in Groups

Regular: $129

Light Green Piano Logo Thumbnail Image
A Pianist’s Guide to Teaching Online

Regular: $79

Light Blue Piano Logo Thumbnail Image
A Pianist’s Guide to Teaching Recreational Music Makers

Regular: $77

Yellow Piano Logo Thumbnail Image
Exploring Latin American Piano Music: A Cultural Journey with Elementary through Early-Advanced Pieces

Regular: $79

Orange Piano Logo Thumbnail Image
Foundational Piano Pedagogy (Self-Guided)

Regular: $79

Dark Blue Piano Logo Thumbnail Image
Hidden Gems: Four Centuries of Piano Music by Women Composers

Regular: $79

Light Green Piano Logo Thumbnail Image
Piano Teaching through the Lens of Diversity, Equity, and Inclusion

Regular: $79

Light Blue Piano Logo Thumbnail Image
Technique through Repertoire

Regular: $49

Yellow Piano Logo Thumbnail Image
The Beginner Course: Establishing Strong Foundations for Young Pianists (Self-Guided)

Regular: $129

Orange Piano Logo Thumbnail Image
The Inclusive Teaching Course: Teaching Piano to Students who are Special Learners

Regular: $129

Dark Blue Piano Logo Thumbnail Image
The Intermediate Course: Continuing Pianistic Growth and Development

Regular: $129

Light Green Piano Logo Thumbnail Image
Unsung Heroes in Piano Pedagogy: 20 Pieces by Black Composers to Use in Your Studio Now

Regular: $79

$30 each

Microcourses

Orange Piano Logo Thumbnail Image
20th- and 21st-Century Music by Women Composers

from Hidden Gems: Four Centuries of Piano Music by Women Composers

Dark Blue Piano Logo Thumbnail Image
Baroque Era Music by Women Composers

from Hidden Gems: Four Centuries of Piano Music by Women Composers

Light Green Piano Logo Thumbnail Image
Classical Era Music by Women Composers

from Hidden Gems: Four Centuries of Piano Music by Women Composers

Light Blue Piano Logo Thumbnail Image
Classical Sonatinas and Sonatas at the Piano

Microcourse Only

Yellow Piano Logo Thumbnail Image
Creating a Professional Piano Studio

from A Pianist’s Guide to Studio Management

Orange Piano Logo Thumbnail Image
Developing Musical Skills in Young Pianists: Ideas from Music Learning Theory

from The Beginner Course

Dark Blue Piano Logo Thumbnail Image
Florence Price Teaching Pieces

from Unsung Heroes in Piano Pedagogy: 20 Pieces by Black Composers to Use in Your Studio Now

Light Green Piano Logo Thumbnail Image
Harnessing the Power of the Team: Teacher, Child, and Parent in Beginning Piano Study 

from The Beginner Course

Light Blue Piano Logo Thumbnail Image
Inclusive Teaching at the Piano

Microcourse only

Yellow Piano Logo Thumbnail Image
Introducing Pieces with Purpose

from The Beginner Course

Orange Piano Logo Thumbnail Image
Lesson Planning Essentials: Tools for Student Success

from The Beginner Course

Dark Blue Piano Logo Thumbnail Image
Managing a Professional Piano Studio

from A Pianist’s Guide to Studio Management

Light Green Piano Logo Thumbnail Image
Music by Black Composers for Early-Advanced Students

from Unsung Heroes in Piano Pedagogy: 20 Pieces by Black Composers to Use in Your Studio Now

Light Blue Piano Logo Thumbnail Image
Music by Black Composers for Intermediate Students

rom Unsung Heroes in Piano Pedagogy: 20 Pieces by Black Composers to Use in Your Studio Now

Yellow Piano Logo Thumbnail Image
Performance Anxiety Management: How to Prepare for Your Best Performance

Microcourse Only

Orange Piano Logo Thumbnail Image
Rhythm and Movement in Beginning Piano Study

from The Beginner Course

Dark Blue Piano Logo Thumbnail Image
Romantic Era Music by Women Composers

from Hidden Gems: Four Centuries of Piano Music by Women Composers

Light Green Piano Logo Thumbnail Image
Romantic Piano Masters

Microcourse Only

Light Blue Piano Logo Thumbnail Image
Teaching Adult Piano

Microcourse Only

Yellow Piano Logo Thumbnail Image
Teaching Adults in Groups

from a Pianist’s Guide to Teaching in Groups

Orange Piano Logo Thumbnail Image
Teaching Beginning and Elementary Children in Groups

from A Pianist’s Guide to Teaching in Groups

Dark Blue Piano Logo Thumbnail Image
Teaching Collegiate Group Piano

from A Pianist’s Guide to Teaching in Groups

Light Green Piano Logo Thumbnail Image
Teaching Elementary Technique and Music Reading at the Piano

from The Beginner Course

Light Blue Piano Logo Thumbnail Image
Teaching Exemplary Performance

from The Beginner Course

Yellow Piano Logo Thumbnail Image
Teaching Improvisation and Composition

from The Beginner Course

Orange Piano Logo Thumbnail Image
Teaching Jazz at the Piano

Microcourse Only

Dark Blue Piano Logo Thumbnail Image
Teaching Musical Concepts

from The Beginner Course

Light Green Piano Logo Thumbnail Image
Teaching Piano Skills

Micrcourse Only

Light Blue Piano Logo Thumbnail Image
Teaching Young Children in Groups

from A Pianist’s Guide to Teaching in Groups

5 Reasons to Submit a Proposal to The Piano Conference: NCKP 2025



We would like to thank Megan Hall and Curtis Pavey for this insightful article about why you should submit a proposal to The Piano Conference: NCKP 2025. The last chance to submit your proposals via our proposal submission portal is 11:59pm PDT on Monday, October 21, 2024. 

A presentation at The Piano Conference: NCKP 2023.
The Piano Conference: NCKP.

1. Share your teaching practices, scholarship, and research.

The Piano Conference seeks innovative ideas, fresh perspectives, and inspired thinking for the future of piano education worldwide. Whether your research focuses on diversity, equity, and inclusion; creative music making; or interdisciplinary studies; we look forward to exploring trailblazing ideas. See the wide range of topics at the proposal page!

Nanyi Qiang speaks at The Piano Conference: NCKP 2023.
Nanyi Qiang

2. Connect and network with professionals in the field.

Pianists and music teachers from around the globe attend The Piano Conference, and the gathering in 2025 is on track to be the most exciting event yet. The opening one-day summit provides an interactive gathering for all to collectively share, dialogue, and exchange ideas around the immediate challenges, opportunities, and global impact of piano education. Come ready to share and learn from members of our community.

Young professionals at The Piano Conference: NCKP 2023.
Young professionals at The Piano Conference: NCKP 2023.

3. Build your resume.

Presenting at The Piano Conference provides resume-building presentation experience. Each lightning talk, lecture recital, workshop, keyboard lab, panel, and presentation adds to your professional portfolio and increases individual marketability. The program results from a rigorous blind review and committee process, which ensures there is a wide range of presenters and topics at The Piano Conference.

Allison Keep speaks at The Piano Conference: NCKP 2023.
Allison Keep

4. Learn more about the art of piano pedagogy.

Inspired teachers create inspired students. In the words of Frances Clark, “A piano lesson should be a happening. Something happens at a piano lesson so that when you walk out of the studio, you feel different from when you walked in.” Learning to inspire the next generation of musicians, teachers, and music lovers requires striving for the highest standards. Come to learn more about how members of our community are inspiring their students.

Vanessa Cornett speaks at The Piano Conference: NCKP 2023.
Vanessa Cornett

5. Engage with luminaries in the field!

Hear words of wisdom and motivation from pedagogical leaders and be inspired to refresh your teaching, performing, and professional life. Keynote and PEDx speakers will remind you of your positive impact on your communities and the world.

Jennifer Snow speaks at The Piano Conference: NCKP 2023.
Jennifer Snow

Do you have research you want to share with the piano pedagogy community? Submit a proposal to NCKP by clicking here, or submit a manuscript to the Journal of Piano Research by clicking here.

MORE ON THE PIANO CONFERENCE: NCKP
Not yet a subscriber? Join for only $7.99/mo or $36/yr.

Recreational Music Making: 5 Discoveries We Made as RMM Teachers



We would like to thank Debra Perez, Craig Sale, Rebecca Bellelo, and Emily Book McGree for their contributions to this article on Recreational Music Making. Interested to learn more about RMM? Our latest course, A Pianist’s Guide to Teaching Recreational Music Makers, is available for presale purchase. Learn more and enroll here. Use code RMMLAUNCH2024 for an exclusive $25 off.

Digital piano laboratory/studio

1. Discovering Support: RMM classes are filled with students who are excited to learn and cheer on their classmates.

“RMM is not about exceptional performance—it’s about exceptional support and personal experience. RMM classes are not about the final product as much as they are about the joy found in the process along the way. Classmates encourage and support one another as they make music together. They enjoy the social aspects of learning with others. Regardless of background or age, the common thread for the students is their love of music. And they enjoy sharing this love of music with others.” – Debra Perez

2. Discovering Play: Giving students the permission to experiment and play in class leads to more curious and engaged students.

“RMM is not about teaching people to play—it’s about giving people the permission to play. Public perception about the talent required to play a musical instrument has kept people from trying. We believe that every life needs music and anyone can learn to play. The desire to play is the only prerequisite to this RMM program. [Students] are not convinced that they actually can learn to play the piano as an adult. It is important to honor the courage that is required for the adult to sign up for lessons. They simply need to be shown they can learn.” – Debra Perez

3. Discovering Balance: I needed RMM classes to balance out my other teaching commitments.

“Teaching RMM classes brought balance to my teaching life. Every hour of my usual teaching week was spent working with children to achieve higher levels of musical understanding and achievement—very intense work for both the student and me. Having a couple RMM classes during the same week, focusing on enjoying and experiencing music together, lightened my heart. Teaching in both worlds did not create a conflict in my professional life because when teaching in each of these worlds, I am meeting the needs of the student. However, they are vastly different needs. In so doing, I meet my need—my need to make music a positive force in the student’s life.” – Craig Sale

4. Discovering Repertoire: Instructors should carefully select methods and repertoire that best suit each class.

“If you are a new RMM teacher, you may wonder where to start when selecting music books or ‘methods’ to use in your classes. While no one method series is a perfect RMM curriculum, some selections are stronger candidates to use for your main curriculum based on the following: 

  • Are the reading, musical, and technical demands all accessible enough for my beginner RMM classes?
  • How much theory or technique is included in the book?
  • How are concepts presented, and what is the sequencing?
  • How much review or supplemental material is available?
  • Is the music exciting and engaging for home study?
  • What is the cost associated with the curriculum? 
  • How much supplementation will I need to use? 
  • Does the curriculum offer more advanced materials past the beginner or primer level?”

– Rebecca Bellelo and Emily Book McGree

5. Discovering Classroom Management: It’s important to create a positive learning environment to benefit student and teacher alike.

“The true success of an RMM class relies on the instructor’s ability to manage the room. Each class you teach will have different needs and as a result, will look different from a management perspective. Ages, ability levels, personality types, and learning styles all require shifts from the instructor. Flexibility is important and an effective teacher can read the room and adjust as needed. This takes practice! Above all, I try to remember the famous Maya Angelou quote – ‘I’ve learned that people will forget what you said, people forget what you did, but people will never forget how you made them feel.’ Positive environments, where students have good relationships with the teacher and other students, are easier to manage and have positive impacts on the productivity and progress in the classroom.” – Rebecca Bellelo

Want to learn more about Recreational Music Making? Our new course A Pianist’s Guide to Teaching Recreational Music Makers is coming soon. Sign up to learn more about choosing repertoire, marketing your classes, and inspiring recreational music-makers. Use code RMMLAUNCH2024 for an exclusive $25 off.

MORE ON RECREATIONAL MUSIC MAKING

Not yet a subscriber? Join for only $7.99/mo or $36/yr.

5 Reasons to Submit a Proposal to The Piano Conference: NCKP 2025



We would like to thank Megan Hall and Curtis Pavey for this insightful article about why you should submit a proposal to The Piano Conference: NCKP 2025. The last chance to submit your proposals via our proposal submission portal is 11:59pm PDT on Monday, October 21, 2024. 

A presentation at The Piano Conference: NCKP 2023.
The Piano Conference: NCKP.

1. Share your teaching practices, scholarship, and research.

The Piano Conference seeks innovative ideas, fresh perspectives, and inspired thinking for the future of piano education worldwide. Whether your research focuses on diversity, equity, and inclusion; creative music making; or interdisciplinary studies; we look forward to exploring trailblazing ideas. See the wide range of topics at the proposal page!

Nanyi Qiang speaks at The Piano Conference: NCKP 2023.
Nanyi Qiang

2. Connect and network with professionals in the field.

Pianists and music teachers from around the globe attend The Piano Conference, and the gathering in 2025 is on track to be the most exciting event yet. The opening one-day summit provides an interactive gathering for all to collectively share, dialogue, and exchange ideas around the immediate challenges, opportunities, and global impact of piano education. Come ready to share and learn from members of our community.

Young professionals at The Piano Conference: NCKP 2023.
Young professionals at The Piano Conference: NCKP 2023.

3. Build your resume.

Presenting at The Piano Conference provides resume-building presentation experience. Each lightning talk, lecture recital, workshop, keyboard lab, panel, and presentation adds to your professional portfolio and increases individual marketability. The program results from a rigorous blind review and committee process, which ensures there is a wide range of presenters and topics at The Piano Conference.

Allison Keep speaks at The Piano Conference: NCKP 2023.
Allison Keep

4. Learn more about the art of piano pedagogy.

Inspired teachers create inspired students. In the words of Frances Clark, “A piano lesson should be a happening. Something happens at a piano lesson so that when you walk out of the studio, you feel different from when you walked in.” Learning to inspire the next generation of musicians, teachers, and music lovers requires striving for the highest standards. Come to learn more about how members of our community are inspiring their students.

Vanessa Cornett speaks at The Piano Conference: NCKP 2023.
Vanessa Cornett

5. Engage with luminaries in the field!

Hear words of wisdom and motivation from pedagogical leaders and be inspired to refresh your teaching, performing, and professional life. Keynote and PEDx speakers will remind you of your positive impact on your communities and the world.

Jennifer Snow speaks at The Piano Conference: NCKP 2023.
Jennifer Snow

Do you have research you want to share with the piano pedagogy community? Submit a proposal to NCKP by clicking here, or submit a manuscript to the Journal of Piano Research by clicking here.

MORE ON THE PIANO CONFERENCE: NCKP
Not yet a subscriber? Join for only $7.99/mo or $36/yr.

Piano Inspires Podcast: Karen Walwyn



To celebrate the latest episode of the Piano Inspires Podcast featuring Karen Walwyn, we are sharing an excerpted transcript of her conversation with Leah Claiborne. Want to learn more about Walwyn? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Walwyn on Apple Podcasts, Spotify, YouTube, or our website!

Karen Walwyn, pianist
Karen Walwyn.

Karen Walwyn: When I went to [the] University of Michigan, then I met Dr. Willis Patterson.

Leah Claiborne: So, yes. [Laugh] Karen and I, we would both agree Dr. Willis Patterson is our mentor.

KW: Yes.

LC: Biggest advocate, [the] person you call [and] sit down [with]. Just the most beautiful person, I believe, in our industry. For those who do not know Dr. Willis Patterson, could you give a quick synopsis of Dr. Patterson?

KW: I first met him actually because he did a Black Music Symposium in 1985. I was a master’s student still at University of Miami. When I got to go to the symposium, I got to go as a student participant. And while I was there, I actually played. The chair of the piano department heard me play, and he said, “You need to come here for your doctoral degree.” Moving forward, I did receive a full scholarship to enter the University of Michigan. Of course, you know, I was the accompanist for Our Own Thing Chorale with Dean Patterson. 

LC: I didn’t know that, wow. 

KW: Yeah! For years, we get in the car, ride over to the rehearsals, [and] chit chat. 

LC: In Jefferson Church. 

KW: Yeah. But one day he saw me in the hall, and he said, “Karen! Do you know any pieces by any African American composers?” And I wanted to slip under the floor because I felt so guilty. I feel like I’m supposed to have known. But none of my previous teachers were on that track because usually, the typical repertoire for competition is A, B and C, but not including African American literature. 

“No…?” He said, “Come here!” We went into his office, and he said, “Look around.” This entire wall, full of music and books and scores and records. [He] gave me the key so I [could] go in there and just study everything that was in his room. I spent years, I think, in his room. 

LC: That’s incredible. 

KW: Essentially, just going through stuff. And that’s when I said, “Why, I’ve got to do something here!” And then I came across Althea Waites’s album that had the Florence Price recording on it, and many other composers. So I said, “Okay, I’m going to do one of my doctoral lecture recitals on a composer.” I chose Adolphus Hailstork. And we got to have a lot of time interviewing him and learning his music. 

Of course, I was chosen to do his chamber work, a trio for piano, violin, and cello. The last movement was in 11/8. I [was] like, “Look, how am I supposed to count? It’s like an Allegro, 1-2-3-4-5-6-7-8-9-10-11, 1-2-3-4-5-6-7-8-9-10-11.” And he said, “No, no, no, no, no, no, no, no.” I said, “Why did you make this so hard anyway?” That’s how we clicked instantly. “No, it’s 12-12-123-12-12 // 12-12-123-12-12.” I was like, “Oh, okay! All right, I understand it.” We started developing a beautiful friendship. Once I completed my lecture recital, his piano sonata, which is hefty.

LC: Putting it lightly, yes.

KW: That was on one of my lecture recitals. Later on, after I finished my degree, I was lucky to become tenure-track inside the dance department, where I spent my two years accompanying ballet and [teaching] some of the music teaching subjects there. It was then that I won over $55,000 in grant money to record the two albums, Dark Fires.

LC: Beautiful.

KW: Of course, Adolphus Hailstork was on that, Alvin Singleton, Tania León, Ellis Marsalis, and David Baker. The list goes on. That’s all because Dean Patterson came out to me and said, “Come here!” [Laugh]

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Karen Walwyn on Apple Podcasts, Spotify, YouTube, or our website!

MORE ON KAREN WALWYN

Not yet a subscriber? Join for only $7.99/mo or $36/yr.

Piano Inspires Kids: A Look Inside the Autumn Issue



Exploring the piano through improvisation unlocks endless creativity, and the Autumn issue of Piano Inspires Kids equips young pianists with exciting new tools to ignite their musical imagination. In addition to the print magazine, students can explore additional activities on our website to get their creative juices flowing. Not yet a subscriber? Click here to receive the issue and give the gift of music to the musicians in your life! Keep reading for a sneak peek into the Autumn Issue.

Sample Page of Piano Inspires Kids, Autumn 2024: Improvising from a Score
Play! with Piano Inspires Kids

Want to learn more about Piano Inspires Kids? Watch our webinar, “Inside Piano Inspires Kids: A New Publication of the Frances Clark Center” with Co-Editors-in-Chief Sara Ernst and Andrea McAlister: click here.


Piano Inspires Podcast: Tim Topham



To celebrate the latest episode of the Piano Inspires Podcast featuring Tim Topham, we are sharing an excerpted transcript of his conversation with Sara Ernst. Want to learn more about Topham? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Topham on Apple Podcasts, Spotify, YouTube, or our website!

Tim Topham, pianist and teacher
Tim Topham speaking at The Piano Conference: NCKP 2023.

Sara Ernst: What is inspiring to you about the kids today? Especially if you think [about] this holistic form of education, where you’re really trying to build a musician at the piano who’s really learning skills that they can take to a wide variety of contexts. What do you see from the kids that are learning in that way that makes you go, “Ah, yes, this is it”?

Tom Topham: I just like that kids aren’t letting us do boring stuff anymore. And this goes for classrooms as well. A classroom teacher can’t just teach the same curriculum every year like they may have done in the past. Be that good or bad. I mean, obviously it’s a good thing that they can’t do that anymore. The whole move towards more inquiry-based learning and giving students autonomy in what they’re doing—which we know from Self-Determination Theory—is a really powerful aspect of self motivation in education. The more that we can get them involved and help them achieve things that they want to do, the more that they’re going to have agency and power in the decision making and want to do those things. 

I like that kids these days want something different, want something more, and aren’t content with just the status quo or just, “Okay, teacher, tell me. I’ll just go through the standards. You know, we’ll start with Burgmüller, and then we’ll go to Clementi, and then we’ll go to some Beethoven.” I know for some teachers, that will be difficult, but I also hope that a lot of teachers will look at that—I won’t call it pushback, because it’s not necessarily pushback—but look at that questioning of students and see that they maybe want something different and more. Rather than go[ing], “I can’t teach you that.” or “what do I do?”, go, “All right, let’s try. Let’s see what we can do.” 

Teachers can get so much value from trying new things. For many years, for anything that I put out, I suggest, “Hey, I’ve had a great experience with this. Here’s something you can try, and here’s the reason why I believe it’s powerful in the pedagogical sense. Why don’t you give it a shot?” I just encourage teachers to try these new things because it’s fun, and it’s going to make them better teachers, and students are going to respond to it. 

Also these days, actually, students have always wanted to see their teachers as humans, as fallible humans. Back when we were at school, the schoolmaster was up on the raised platform, blackboards, and all that kind of stuff. It’s just not what we need or what students want anymore. And I think that’s good.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Tim Topham on Apple Podcasts, Spotify, YouTube, or our website!

MORE ON TIM TOPHAM

Not yet a subscriber? Join for only $7.99/mo or $36/yr.

SMS Privacy Policy

SMS Communication Policy for Customers of The Frances Clark Center

Purpose

The purpose of this SMS Communication Policy is to inform customers of The Frances Clark Center about our practices regarding SMS (Short Message Service) communications. We aim to provide valuable updates and information while respecting your privacy and preferences.

Policy Overview

 1. Consent

– By providing your mobile number and opting into our SMS program, you consent to receive SMS communications from The Frances Clark Center. Consent can be revoked at any time.

 2. Types of Messages

– SMS messages may include:

  – Important updates regarding our programs and services.

  – Event notifications and reminders.

  – Donation requests and fundraising campaigns.

 3. Frequency of Messages

– We strive to limit our SMS communications to 2 messages per month. However, you may receive more messages during significant events or sales.

 4. Opt-Out Procedure

– You can opt-out of receiving SMS communications at any time by replying “STOP” to any message you receive. You will receive a confirmation that you have been unsubscribed, and no further messages will be sent.

 5. Privacy and Security

– Your privacy is important to us. We will not share your personal information with third parties without your explicit consent. We comply with all local and national laws. Your phone number will be stored securely and only accessible to authorized personnel.

 7. Message Charges

– Standard message and data rates may apply based on your mobile plan. Please check with your mobile provider for details.

 8. Feedback and Support

– We welcome your feedback! If you have questions or concerns about our SMS communications, please contact us at info@francesclarkcenter.org.

Agreement

By opting into our SMS program, you acknowledge that you have read and understood this policy. Your participation helps us keep you informed and engaged with The Frances Clark Center.

Improvising with Piano Inspires Kids: Use the Autumn 2024 Issue in Your Studio Today!



Exploring the piano through improvisation unlocks endless creativity, and the Autumn issue of Piano Inspires Kids equips young pianists with exciting new tools to ignite their musical imagination. In addition to the print magazine, students can explore additional activities on our website to get their creative juices flowing. Below are excerpts from our new teacher resource guide designed to spark their students’ excitement for creating and learning at the piano. Not yet a subscriber? Click here to receive the issue and give the gift of music to the musicians in your life! Keep reading for a sneak peek into the Autumn issue.

Explore: Researching Yesterday and Today’s Improvisers

After reading Now & Then in the Autumn 2024 issue of Piano Inspires Kids, ask your students to choose an improviser found in the magazine to research. Students can present their findings in studio classes, create posters to be displayed in the studio, or create a playlist of their chosen improviser’s recordings on a streaming platform of their choice for others to enjoy. 

Play: Get Your Students Improvising with our new YouTube series, “Play!” with Piano Inspires Kids

Using the QR codes provided on page 7 of the Autumn issue, listen to the accompaniment played by Binh Anh. Students can use the improvisation guide in the magazine to determine the notes, style, and rhythm of their improvisation. Once the improvisation has been completed, ask the student to reflect on their performance. Play with the video many times and adjust the speed as needed by clicking on the setting wheel and selecting “speed.” 

Play: Improvisation from a Score

Using the examples found on page 6, play the first four measures of Minuet in A Minor by Krieger. Analyze the examples below the original music, and ask your students to circle the ways the melody has been altered. Play these examples together, and then come up with a fourth way to improvise with the right hand. Try each idea suggested. Apply these ideas to the entire piece, or ask the student to choose a different piece or phrase to which they can apply these improvisation techniques.

Discover: Using the 12-Bar Blues Improvisation in Your Studio

Play the C major, minor, and minor blues scales found on page 14 and discuss the differences between the scales. Choose one to three notes of the scale. Explore the many ways to vary the melodic and rhythmic pattern of these notes. Add more notes of the scale to your previous improvisation, or choose one to three new notes. Improvise with these notes, creating new patterns or repeating patterns you like. Then, watch our new YouTube series Play! with Piano Inspires Kids to improvise with Binh Anh as he plays the 12-bar blues accompaniment. Improvise with the video many times to experiment with melodic and rhythmic patterns. 

Students can also play both the melody and accompaniment using the progression outlined on page 14. In group classes, ask one student to play the chord progression and another to improvise a melody. Go to kids.pianoinspires.com/explore/activities to download more accompaniment patterns for the blues. 

Share: How Do You Like to Improvise?

Listen to Sean Chen’s video about improvisation on the @pianoinspireskids YouTube channel. Pause at 1:21 and discuss the ways in which the pianist enjoys improvisation. Now listen for the two tips Sean gives for creating a unique sounding improvisation. Pause at 2:34 and discuss. Then, listen to his improvisation for the two tips (sevenths and arpeggios). Discuss: Are you drawn to improvisation like Sean? Do you like to spontaneously create your own music? 

As outlined above, the studio activities created for each issue include ways to discover, explore, play, and share, expanding on the content of each section of the magazine! These ready-to-use lesson plans, written with a flexible design for group or individual lessons, ensures your studio can get the most out of their subscription to Piano Inspires Kids. Subscribe today! kids.pianoinspires.com/subscribe.


Piano Inspires Podcast: Spencer Myer



To celebrate the latest episode of the Piano Inspires Podcast featuring Spencer Myer, we are sharing an excerpted transcript of his conversation with Jennifer Snow. Want to learn more about Myer? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Myer on Apple Podcasts, Spotify, YouTube, or our website!

Spencer Myer, American pianist

Jennifer Snow: You’ve gone through all these amazing successes with competitions and started to understand yourself as an artist. That all starts to clue up for yourself. You’ve got a career, you’re performing, you’ve got your management and you’re a Steinway artist, and you’re on your way. Where’s the teaching pull? When does that start to come in, and how does that all come together for you?

Spencer Myer: It was always something I was interested in. I started teaching beginners when I was twelve. I had a paper route from age nine to twelve, and then I thought, “I could at least just advertise on my street for piano lessons and start teaching piano lessons. Why not make money doing music?” That was always something I very much enjoyed. I did that, not as actively, through college, and then it stopped in grad school. I lost all my connections to developing students, and I was more focused on playing through my graduate school. 

Then as the performing career started to develop and I would do various engagements, they would often come with a master class. So the bulk of my early higher-level teaching post grad school was master classes, which I always really enjoyed. 

I always found myself conducting a masterclass a little bit closer to a lesson than a public display. I just started to see that, certainly in particular, voicing things about developing technique, and refining technique and technical problems—solving things—came quite easily to me because, I think, I was never a prodigy. I had some natural technique, but I had to figure a lot of things out. Certainly, because a lot that I did naturally, I developed a lot of inherent tensions that I had to get rid of, and through repertoire exploration and just a lot of observation. 

Another thing I was going to mention about influences at Oberlin was the other piano faculty. I would observe their students playing. I would accompany a lot of their students on concerti, so I saw their teaching [and] so many of these different technical approaches. There’s Bob Shannon and Haewon Song who teach the Taubman technique. We had a couple Russian teachers there who have their own approach as well. I just gained a well-rounded sense of how to solve problems. And so I became, very early on in this masterclass trajectory, very addicted to those light bulb moments. Students, where you solve a technical problem and you make something easier for them, and all they want is to be able to communicate themselves more easily at the piano. It is just the best feeling. 

JS: Indeed. 

SM: Absolutely the best feeling.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Spencer Myer on Apple Podcasts, Spotify, YouTube, or our website!

MORE ON SPENCER MYER

Not yet a subscriber? Join for only $7.99/mo or $36/yr.

Search
piano inspires logo, black with colored stripes in the tail of the piano