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Spotlight on Gayle Kowalchyk



To celebrate the latest episode of the Piano Inspires Podcast featuring Gayle Kowalchyk, we are spotlighting her extensive scholarship and research published by The Frances Clark Center. Gayle Kowalchyk is a pianist, educator, and pedagogical composer who has taught at California State University Northridge. Read more below to learn about her pedagogical compositions, method books, and approaches to teaching and learning.


COURSE: FOUNDATIONAL PIANO PEDAGOGY (SELF-GUIDED)

The Foundational Piano Pedagogy (Self-Guided) course presents essential pedagogical concepts for teachers of all experience and expertise levels. The course includes five different modules that cover everything from learning theories to improving communication practices to ideas from Frances Clark herself! Learn more by clicking here: https://pianoinspires.com/course/foundational-piano-pedagogy-self-guided/.


MAGAZINE ARTICLE: A CURRENT SURVEY OF METHODS: ALFRED’S PREMIER PIANO COURSE


MAGAZINE ARTICLE: THE LEGACY OF FRANCES LARIMER

Frances Larimer, a longtime faculty member at Northwestern University, was a leader in the field of piano pedagogy who inspired her students to rethink group piano teaching, develop international opportunities, and lead their own programs in piano and piano pedagogy. Learn more about Gayle’s reflections on her experiences with Frances Larimer by clicking here: https://pianoinspires.com/article/the-legacy-of-frances-larimer/.


MAGAZINE ARTICLE: AUTUMN 2023: QUESTIONS AND ANSWERS

In this article, Gayle Kowalchyk offers her ideas about including works by underrepresented composers in piano curricula. With tips and strategies for teaching works by composers Florence Price, Zhao Zhang, and Erwin Schulhoff, this article provides teachers with new literature to inspire their students. Discover these works and more here: https://pianoinspires.com/article/autumn-2023-questions-and-answers/


MAGAZINE ARTICLE: WHAT IS GOOD MATERIAL TO USE WITH ELEMENTARY TRANSFER STUDENTS WHO ARE PLAYING MUSIC FAR TOO DIFFICULT

In this Piano Magazine article, authors Martha Appleby, Yu-Jane Yang, and Gayle Kowalchyk help teachers discover the pedagogical opportunities when presented with an elementary student playing music above their playing level. Using a variety of repertoire, communication strategies, and pedagogical tips, Kowalchyk provides her plan and perspective to help put students back on the right course. Learn more here: https://pianoinspires.com/article/what-is-good-material-to-use-with-elementary-transfer-students-who-are-playing-music-far-too-difficult/


Want to learn more about Gayle Kowalchyk? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Sale on Apple Podcasts, Spotify, YouTube, or our website!

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    Keyboard Companion Spring 2003; Vol. 14, No. 1
    Page 5: The Editor’s Page Elvina Pearce Page 6: On the cover Page 7: Readership Survey Page 10: Teacher/Student/Parent What qualities did you value in your piano teacher? Barbara Kreader with Margaret Otwell and Edna TerMolen Page 16: Home Practice Practice Puzzlers – “What do you do when…?”, part 2…
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Holiday Gifts for Pianists: Works for Pianists of All Levels



Build your holiday wish list with our inspiring collection of piano teaching resources! From expert repertoire guides and diverse repertoire collections to practical teaching tools and personal essays by leading educators, our publications make the perfect gift to enrich your studio and spark creativity all year long.

Weaving Sounds: Elementary Piano Pieces by Native and Indigenous Composers

Compiled and Edited by Connor Chee and Renata Yazzie

Weaving Sounds is a collection of beginner piano repertoire written by the vibrant and diverse voices of Native and Indigenous composers from the Diné, Mohawk, Anishinaabe, Cree, Blackfoot, Jicarilla Apache, Choctaw, and Mohican communities. Each piece is a unique expression of the composers’ cultural roots and personal artistry, offering a tapestry of sounds that are both accessible to beginners and deeply meaningful. The pieces are presented in order of progressive difficulty and include information about the composers and their communities.

Weaving Sounds Front Cover.

Dancétudes

By Thomas H. Kerr Jr., edited by Susanna Garcia and William Chapman Nyaho

Dancétudes: 7 Vignettes of Dolls and Pets is a set of seven programmatic piano solos by Thomas Henderson Kerr Jr., composed for his young daughter. Dedicated to her dolls and pets, these pieces develop technical proficiency, familiarity with contemporary idioms, and expressive artistry.

Kerr described the title as “a combination of the words ‘dance’ and ‘étude,’” explaining that he wrote them to encourage his daughter’s interest in playing. Spanning late intermediate to early advanced levels, the études explore twentieth-century styles—including impressionism, postimpressionism, modernism, and jazz—each highlighting a specific technique or musical idiom.

Dancétudes serves as a bridge to advanced impressionist and modernist works, and to works in the jazz idiom.

The cover page for Dancetudes.

Easter Monday Swagger

By Thomas H. Kerr Jr., edited by Susanna Garcia and William Chapman Nyaho

Scherzino, Easter Monday Swagger (1970) is a solo piano work by Thomas Henderson Kerr Jr. Subtitled A Fantasy “Romp” on Walk Together, Children, it offers contrasting interpretations of this African American spiritual, blending playful energy with moments of depth and reflection.

Kerr employs imitation, call-and-response, and improvisation, reflecting the performance traditions of the spiritual. By blending these elements into a fantasy-a genre of piano composition known for expressive freedom, improvisatory character, harmonic experimentation, and virtuosity-he creates a distinctive synthesis of African American and European classical elements.

Cover page for Easter Monday Swagger.

Didn’t My Lord Deliver Daniel?

By Thomas H. Kerr Jr., edited by Susanna Garcia and William Chapman Nyaho

Didn’t My Lord Deliver Daniel?: Concert Scherzo for Two Pianos, Four Hands is a set of six variations and a coda based on the Negro spiritual. Composed in 1940 by pianist and composer Thomas Henderson Kerr Jr. for his performances on the Black College Circuit during the 1940s, it is an effective showpiece for advanced pianists.

Kerr described it this way: “The piece sets forth the theme transparently and saucily then plunges into querulous, propulsive and percussive ostinato (Allegro Barbaro), with a surprise ending. After a breathing pause (for both players and listeners) comes a slow expressive section (Andante Sognando)…There are two brittle, playful variations (Scherzando) and a ‘Tempo Grandioso’ which leads to a coda which sweeps the players off the stage.”

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    Keyboard Companion Spring 2003; Vol. 14, No. 1
    Page 5: The Editor’s Page Elvina Pearce Page 6: On the cover Page 7: Readership Survey Page 10: Teacher/Student/Parent What qualities did you value in your piano teacher? Barbara Kreader with Margaret Otwell and Edna TerMolen Page 16: Home Practice Practice Puzzlers – “What do you do when…?”, part 2…
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5 Things from the Autumn Issue of Piano Magazine 



The Autumn 2025 issue of Piano Magazine is here to illuminate your studio and inspire your artistry. From vital discussions on pianist wellness to celebrating the legacies of beloved pedagogues, this issue explores the current concerns of the piano teaching community. Delve deep into the expressive artistry of Brahms’s rubato, discover accessible new repertoire by Lorenzo Fernández, and gain powerful insights to transform both your teaching and performance.

Portrait of Wilfred Delphin in business casual attire
Wilfred Delphin

1. Celebrate the life and work of Wilfred Delphin.

The feature article celebrates the legacy of Wilfred Delphin–one half of the first critically acclaimed African American piano duo, Delphin and Romain. The duo was renowned for their technical artistry, performing traditional Western repertoire while championing works by African American composers. Beyond prestigious halls, they brought classical music to small, underserved communities, transporting their own pianos to ensure quality.

Delphin’s unique musical journey began in segregated Eldorado, Arkansas, where a “village” of teachers fostered his talent with humility and grace. At Xavier University, he met Edwin Romain, and the duo was mentored by Steven Barwick. After their 1977 Carnegie Hall debut, Delphin and Romain built a sustainable career rooted in high standards, grant writing, and commissioning new works. Delphin’s lasting legacy lives on through his humble mentorship of his university students and advocacy for young Black musicians, ensuring their important voices are heard.

2. Explore how Brahms indicates rubato through rhythmic manipulation and poetic word painting.

Student accounts of Brahms’s teaching evidence his detailed approach to rubato and other performance practices. However, these accounts detail very little of his thoughts about his own music. Asher Armstrong’s article explores how Brahms “bakes in” rubato through rhythmic manipulation, inviting a “freedom, warmth, energy, [and] passion” in performance. The article analyzes moments where the music seems to “unbutton,” or experience a “stirring of sap in the heartwood,” prompting instinctive tempo shifts—from the gentle flow of the Romanze to the emotional overflow of the Intermezzo in B Minor. By exploring his lieder, we find striking parallels that illuminate the composer’s “invisible press on the shoulder.” 

3. Engage in a conversation about arthritis–a condition affecting one in four adults.

Physical, emotional, and mental wellness continues to be a focus of the piano teaching community. What about arthritis? Kaden Larson opens the conversation by sharing his personal story of survival, where at a young age piano practice became therapeutic physical therapy, actively fighting crippling joint damage. Learn essential self-care for pianists, focusing on intentional movement, proper warm-ups, and conscious practice (softer, slower, shorter segments). The author urges those with symptoms to seek diagnosis and keep the conversation open. Don’t lose hope—the piano can be a therapeutic miracle! 

A black-and-white portrait of Oscar Lorenzo Fernández.
Oscar Lorenzo Fernández

4. Discover Brazilian Gems in Lorenzo Fernández’s Music.

Unlock an expressive new repertoire for your students! Ísis Cardoso delves into the piano works of Lorenzo Fernández (1897–1948), a pivotal Brazilian composer who blended European Impressionism with Afro-Brazilian folk idioms. Fernández’s music is a pedagogical powerhouse, integrating musical storytelling with technical rigor. His clear teaching goals—whether developing rhythmic precision or voicing—allow students to build skill and confidence within musically satisfying miniatures. The post analyzes four pieces across his stylistic periods, including the lyrical “Prince Charming’s Serenade” and the rhythmically sophisticated “Yayá Dancing,” which uses Afro-Brazilian rhythmic cells to evoke a subtle, dance-like groove. Fernández’s accessible, character-rich music is the perfect bridge to Romantic and Modernist repertoire like Bartók and Tchaikovsky. 

5. The Enduring Value of International Interaction in the Profession.

Jerry Wong interviews four colleagues exploring the positive impact of international networks in music.

  • Andrea Lam (Australia/US): Time abroad was crucial, expanding her focus to chamber music and collaboration, teaching the instrument to “breathe.”
  • Alexandre Dossin (Brazil/Russia/US): Rigorous Moscow training and Brazilian popular music informed a creative, free approach to standard repertoire.
  • Gila Goldstein (Israel/US): Stressed sound quality and variety from her Russian lineage and championed composers reflecting her Israeli heritage.
  • Read Gainsford (NZ/UK/US): Highlighted the value of diverse institutions, from Guildhall’s performance focus to IU’s exposure to a multitude of pedagogical giants.

Collectively, their experiences affirm that internationalism deeply impacts artistry, teaching, and repertoire, fostering a broader, more creative approach to music

Read the full story and more articles at pianoinspires.com/magazine. Not a subscriber? Subscribe to our 100%-human-generated, peer-reviewed magazine today for as low as $3/month.

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    Keyboard Companion Spring 2003; Vol. 14, No. 1
    Page 5: The Editor’s Page Elvina Pearce Page 6: On the cover Page 7: Readership Survey Page 10: Teacher/Student/Parent What qualities did you value in your piano teacher? Barbara Kreader with Margaret Otwell and Edna TerMolen Page 16: Home Practice Practice Puzzlers – “What do you do when…?”, part 2…
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Holiday Inspiration: The Perfect Piano Publications for Your Wish List



Build your holiday wish list with our inspiring collection of piano teaching resources! From expert repertoire guides and diverse repertoire collections to practical teaching tools and personal essays by leading educators, our publications make the perfect gift to enrich your studio and spark creativity all year long. Read below for a special code to use for 20% off these resources!

Inspired Piano Teaching by Marvin Blickenstaff

Inspired Piano Teaching is filled with practical advice on teaching students at all levels. It is dedicated to keeping inspiration and artistry alive for every student in every lesson. After reading the book, teachers will feel like they have attended a multi-day workshop with Marvin. Topics range from proactive teaching, the interview, and the first lesson to technical gestures, guidelines to interpretation, and coaching a piece to performance. This is a book to be experienced, to be consumed, to be internalized—so that teachers can, in turn, pass musical and artistic concepts to students. 

Book cover featuring Marvin Blickenstaff seated at a piano, smiling warmly in a gray suit and red tie. The title reads “Inspired Piano Teaching” with his name below.

Piano Literature for Teaching and Performance by Jane Magrath

The most comprehensive, up-to-date guide for evaluating and selecting graded piano solo literature from Baroque to Contemporary periods. This publication includes significant listings from underrepresented and women composers in addition to an enlarged contemporary collection. Each composer is given a short biography, along with musical characteristics, pedagogical considerations, and a suggested grade level for each piece. 

The book cover of Jane Magrath's Piano Literature for Teaching & Performance.

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

Recollections: A Pianist’s Essays on Teaching, Performing, and Living gathers dozens of articles Robert Weirich wrote for various music journals, including Clavier, over the last four decades. The essays are linked by new writing that is both memoir and an exploration of the place of the arts in American society. There is much here to consider about how a musician makes a life and comes to terms with both success and failure. Ultimately it is about perseverance during a time of great change and the desire for relevance. This book will appeal to the general reader who is curious about the arts. It will be of special interest to musicians young and old. The writing will certainly engage teachers, not only of the piano but anyone of a self-reflective bent. While the subject matter is music-centric, advanced knowledge of music is not required. The writing style is straightforward and personal.

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

Special Holiday Offer: 20% off these three essential teaching guides using code HOLIDAY. Offer does not apply to other publications.

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    Keyboard Companion Spring 2003; Vol. 14, No. 1
    Page 5: The Editor’s Page Elvina Pearce Page 6: On the cover Page 7: Readership Survey Page 10: Teacher/Student/Parent What qualities did you value in your piano teacher? Barbara Kreader with Margaret Otwell and Edna TerMolen Page 16: Home Practice Practice Puzzlers – “What do you do when…?”, part 2…
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Craig Sale, Shaping Piano Education Through Legacy and Community | S3 E8 

In the latest episode of the Piano Inspires Podcast, Craig Sale discusses his early experiences with music study, his work with legendary educators Frances Clark, Louise Goss, and Elvina Pearce, and his current work as senior editor of Piano Magazine. Listen now to hear this insightful and inspiring conversation with host Pam Pike.

Spotlight on Craig Sale



A portrait of Craig Sale in a black suit.
Craig Sale

To celebrate the latest episode of the Piano Inspires Podcast featuring Craig Sale, we are spotlighting his extensive scholarship and research published by The Frances Clark Center. Craig Sale is a pianist, teacher, workshop clinician, adjudicator, author, and editor. For thirty years he served as Director of the Preparatory and Community Piano Program at Concordia University Chicago where he also taught university courses in piano pedagogy. He was a pedagogy student of Frances Clark and Louise Goss. Read more below to learn about his work on foundational pedagogy, teaching concepts, motivation, and more.


COURSE: FOUNDATIONAL PIANO PEDAGOGY (SELF-GUIDED)

The Foundational Piano Pedagogy (Self-Guided) course presents essential pedagogical concepts for teachers of all experience and expertise levels. The course includes five different modules that cover everything from learning theories to improving communication practices to ideas from Frances Clark herself! Learn more by clicking here: https://pianoinspires.com/course/foundational-piano-pedagogy-self-guided/.


WEBINAR: LET’S TALK TEACHING: SOME BASICS ABOUT LEARNING, MOTIVATION, AND COMMUNICATION

In this webinar, Craig Sale shares his secrets to piano teaching success with tips about learning theories, how to communicate with parents and students effectively, and how to motivate students to achieve success in the studio and beyond. Watch the full webinar here: https://pianoinspires.com/webinar/some-basics-about-learning-motivation-and-communication/.


WEBINAR: CONCEPT PREPARATION: THE MISSING LINK

One of the most important aspects of great piano teaching is the presentation and mastery of new concepts. In this webinar, Craig Sale provides tips for helping students understand concepts accurately from the beginning using Frances Clark’s “Sound-Feel-Sign-Name” approach that has revolutionized music teaching around the world. Discover the power of concept preparation here: https://pianoinspires.com/webinar/the-missing-link/.


MAGAZINE ARTICLE: BREAKING OUT OF THE HOUSE OF CORRECTIONS

If piano lessons have become an endless stream of correcting learned mistakes, this article will revolutionize your approach to teaching. Craig Sale discusses his strategies to help students understand concepts correctly from the beginning, while also helping them master their pieces accurately from the first practice session. Absorb these strategies in this article: https://pianoinspires.com/article/breaking-out-of-the-house-of-corrections/


VIDEO: KABALEVSKY: RUNNING ALONG, OP. 39, NO. 6

Dmitri Kabalevsky’s pedagogical piano music has captivated and motivated generations of piano students. In this Inspiring Artistry video, Craig Sale explores “Running Along,” Op. 39, No. 6, which is appropriate for intermediate-level pianists. In the video he provides tips on preparing, practicing, and polishing this piece. Watch the video here: https://pianoinspires.com/video/kabalevsky-running-along-op-39-no-6/


VIDEO: HOW DOES A STUDENT MASTER NEW CONCEPTS?

Refine your concept teaching approach with tips on presentation, preparation, and follow through from Craig Sale. Based on Frances Clark’s ideas on piano teaching, this video lecture provides ideas to help make sure every student understands and executes learning objectives with ease. View this lecture here: https://pianoinspires.com/video/how-can-a-student-master-new-concepts/


BONUS MAGAZINE ARTICLE: EXCEPTIONAL LIVES IN MUSIC: A LOOK AT THE FRANCES CLARK CENTER 2025 LIFETIME ACHIEVEMENT AWARD HONOREES

In 2025, Craig Sale received The Frances Clark Center Lifetime Achievement Award recognizing his impact and scholarship in the field of piano pedagogy. With a career spanning from the New School for Music Study to present day, Craig Sale has inspired and educated pianists and piano teachers worldwide. Read more about his transformative impact here:  https://pianoinspires.com/article/exceptional-lives-in-music-a-look-at-the-frances-clark-center-2025-lifetime-achievement-award-honorees/

Want to learn more about Craig Sale? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Sale on Apple Podcasts, Spotify, YouTube, or our website!

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    Keyboard Companion Spring 2003; Vol. 14, No. 1
    Page 5: The Editor’s Page Elvina Pearce Page 6: On the cover Page 7: Readership Survey Page 10: Teacher/Student/Parent What qualities did you value in your piano teacher? Barbara Kreader with Margaret Otwell and Edna TerMolen Page 16: Home Practice Practice Puzzlers – “What do you do when…?”, part 2…
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2024-2025 Gratitude Report: Celebrating a Year of Community, Legacy, and Innovation



The New School for Music Study.

We are deeply grateful to our donors, educators, and partners who continue to invest in our mission of advancing piano education. Your belief in The Frances Clark Center sustains our programs, inspires teachers and learners, and strengthens the profession for generations to come.

This year was one of growth, innovation, and shared achievement. We established The Frances Clark Center Endowment Fund and launched the Piano Inspires Legacy Circle, celebrated Marvin Blickenstaff’s 90th birthday at Carnegie Hall, introduced the Community Impact Grants Initiative, and hosted the inaugural Innovation Summit at The Piano Conference: NCKP 2025. We also published new works that broaden representation in piano literature and welcomed record enrollment at The New School for Music Study.

Each of these achievements reflects our shared belief in the power of music to inspire and enrich lives. Through this work, we continue to build community, foster creativity, and open doors to meaningful learning experiences.

Jennifer Snow posing for a portrait at the piano.
Jennifer Snow

We embrace the spirit of collaborative visioning that defines this extraordinary organization. Together we strive for an optimistic future, making the world a kinder, more connected place through the transformative power of music.

Dr. Jennifer Snow
President & CEO

Explore the 2024-2025 Gratitude Report by clicking here: https://pianoinspires.com/2024-2025-gratitude-report/

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    Keyboard Companion Spring 2003; Vol. 14, No. 1
    Page 5: The Editor’s Page Elvina Pearce Page 6: On the cover Page 7: Readership Survey Page 10: Teacher/Student/Parent What qualities did you value in your piano teacher? Barbara Kreader with Margaret Otwell and Edna TerMolen Page 16: Home Practice Practice Puzzlers – “What do you do when…?”, part 2…
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Around the World with Piano Magazine



A dramatic image of the piano strings and cast iron frame.

Curious about music and music-making practices around the world? Piano Magazine has you covered with articles covering piano teaching and performance practices in all corners of the globe.

Piano Music by Composers from Asia: A History of Self-Discovery

In this article by Lisa Yui from the Spring 2023 issue, Yui writes about her journey of discovering composers from throughout Asia including composers from Iran, Armenia, China, Vietnam, Azerbaijan, Japan, and more. Throughout this journey, Yui reflects on the music, but also the barriers that still exist that limit the worldwide knowledge and appreciation of the many important composers from this part of the world. Read more by clicking here.


Breaking Stereotypes: Understanding the True Diversity of Indigenous Music

Composer and pianist Connor Chee shares his lived experiences as a Diné musician and composer in this article about Indigenous music. In his reflection, Chee shares a story about a time in which he was exposed to stereotypes about his identity and how this has shaped his mission as a composer today. In addition to providing a richer understanding for all about what it means to be a composer from an Indigenous community, Chee also reflects on cultural appreciation in music and teaching methods and suggests a path forward towards greater understanding and respect. Discover more by clicking here.


Connor Chee
Connor Chee

2020 Collegiate Writing Contest Winner: Norwegian Folk Songs: Making Rhythmic Complexities Easy and Enjoyable

In her winning article on Norwegian folk songs, author Sarah Jenkins makes the case for using rhythmically complex tunes as a source for exciting musical exploration while challenging students to master rhythmic control. The article introduces two pieces by Norwegian composer Agathe Backer Grøndahl, Springdans from Op. 30 and Halling from Op. 33, as evidence of music that can inspire and motivate students. The article offers teaching tips to help instructors successfully approach this music and improve the metrical stability of their students’ playing. Read the entire article by clicking here.


An American Family’s Musical Journey Through Cuba

Discover musical experiences in Cuba in this article by Elizabeth Borowsky who traveled to Cuba twice in 2012 and 2016. Her experiences with her family took her to Havana and Cumanayagua where she spent time interacting with people, listening to performances, and sharing music of her own. While bridging cultures, Borowsky’s experiences connect people of different backgrounds and unite them behind the power of music. Learn more about their experience in Cuba by clicking here.


A bright red old-fashioned car on the streets of Havana, Cuba.
Lessons with (from) Kenya

In this article by Pete Jutras, he shares the story of his connection with the Moi Girls’ School in Eldoret, Kenya. After meeting the music teacher from this school who was visiting the University of Georgia, Jutras was inspired to help develop their music program. Jutras fundraised and travelled to Kenya with students and began a program to allow for online instruction to occur between graduate students at UGA and the school in Kenya. Uncover more lessons from Kenya by clicking here.


Collegiate Runner Up: East Meets West: The Development of Turkish Music

In this article by Eymen Geylan, readers discover the history of Turkish music and its development beginning with the founding of the Republic of Turkey in 1923. The Turkish government funded opportunities for talented musicians to travel to Europe for study, and brought in major composers from Bartók to Hindemith. The article also introduces readers to repertoire by Turkish composers. Ahmed Adnan Saygun, Ulvi Cemal Erkin, Hasan Ferit Alnar, and Cemal Resit Rey. Read more about Turkish music by clicking here.


Zoom & Gloom: The Melbourne Experience of the Perils and Pleasures of the Online Advanced Piano Lesson

In this article by Ian Holtham, he details his experience of teaching online at the University of Melbourne during the COVID-19 pandemic. Amidst the pandemic, Holtham spent significant time determining the best ways to share technical and musical feedback to advanced pianists online. In the article, he discusses a variety of advanced literature such as contrapuntal works by Bach to etudes by Chopin, Liszt, and Rachmaninoff. Read the entire article by clicking here.


Read the full story and more articles at pianoinspires.com/magazine. Not a subscriber? Subscribe to our 100%-human-generated, peer-reviewed magazine today for as low as $3/month.

  • You might like…

    Keyboard Companion Spring 2003; Vol. 14, No. 1
    Page 5: The Editor’s Page Elvina Pearce Page 6: On the cover Page 7: Readership Survey Page 10: Teacher/Student/Parent What qualities did you value in your piano teacher? Barbara Kreader with Margaret Otwell and Edna TerMolen Page 16: Home Practice Practice Puzzlers – “What do you do when…?”, part 2…
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This Month in Piano History – November 2025



As we move into November, we celebrate the birth of a famous ragtime composer, remember an important premiere, and reflect on Bach’s criminal record!

November 6: Bach Goes to Jail

This month in 1717, Johann Sebastian Bach went to jail! The beloved composer and pianist spent about four weeks in a “justice room” at the Weimar court after demanding that he be released from his position as concertmaster for the Duke of Weimar in order to pursue a position in service of Prince Leopold in Cothen. 

A student’s first experience with Bach’s music can be a “watershed” moment. Expert teacher Martha Appleby gives advice on which pieces by Bach to introduce first, as well as practice tips and guidance for the first Bach experience. Read more here!

November 20: The Premiere of Fidelio

This month in 1820, Beethoven’s first and only opera, Fidelio, premiered in Vienna. The opera premiered under the title Leonore, with original libretto by Josephy Sonnleithner, and was received somewhat poorly at first. After multiple revisions by two additional librettists, the opera successfully premiered again under the title Fidelio eight years later. For more on Classical repertoire, style, and technique, check out the Microcourse Classical Sonatinas and Sonatas at the Piano.

November 24: The Birth of Scott Joplin

The “King of Ragtime” and Pulitzer Prize-winner was born November 24,1868 in Texarkana, Texas. Joplin is famous for composing rags such as Maple Leaf Rag, Gladiolus Rag, and The Entertainer. Another engaging piece by Joplin, perfect for advancing students, is The Easy Winners. Click here to watch a video from the Inspiring Artistry series, in which Kate Acone performs The Easy Winners and shares specific teaching tips.

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    Keyboard Companion Spring 2003; Vol. 14, No. 1
    Page 5: The Editor’s Page Elvina Pearce Page 6: On the cover Page 7: Readership Survey Page 10: Teacher/Student/Parent What qualities did you value in your piano teacher? Barbara Kreader with Margaret Otwell and Edna TerMolen Page 16: Home Practice Practice Puzzlers – “What do you do when…?”, part 2…
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Brian Chung, Bridging Music, Business, and Education | S3 E7 

In this episode of the Piano Inspires Podcast, Brian Chung joins host, Heather Smith, to reflect on his past teachers, multi-faceted career path, and hopes for the music field. Chung discusses how he has combined his love of music and business throughout his career. Tune in to learn more about Chung’s inspiring achievements!

Community Impact Grant Winners 2025



Across the country, pianists are using their art to build connection, inclusion, and opportunity. These four projects—by Kelly Hooper, Zaiba Sheikh, Penny Lazarus, and Raphaelita Justice—show how community impact begins with creativity and compassion, inspiring others to design meaningful initiatives that make music accessible for all.

Kelly Hooper: Free-To-Be

Kelly Hooper’s Free-To-Be recital reimagines what a piano performance can look and feel like. This inclusive showcase alters the formality of the typical recital, instead creating a safe, supportive space for every participant. Audience members can sit wherever they feel comfortable and respond freely to the music, while performers enjoy a flexible format that honors their individual needs.

The event’s open-door policy allows anyone to step in or out, easing anxiety for those who are neurodivergent. To ensure thoughtful implementation, the CMS teaching team will receive training in communicating with and supporting neurodivergent populations. Students will also have opportunities to visit the recital space beforehand, exploring the piano and environment at their own pace.

By making room for flexibility and empathy, Free-To-Be celebrates authentic musical expression in a reimagined setting. This innovative format reminds us that musical growth thrives in spaces where everyone truly feels free to be themselves.


Zaiba Sheikh: The Community Piano Lab

Zaiba Sheikh’s Community Piano Lab bridges two important gaps—access to music for at-risk youth and professional development for aspiring piano teachers. This summer pilot program will take place at the Unique Caring Foundation’s foster-care day support center, where interns will teach individual piano lessons to children ages 7–18.

The Foundation, which already provides critical life-skills and academic support, sees music as a powerful addition to its summer offerings. Early-career pianists, especially those from two-year college programs, will gain guided teaching experience under a mentor’s supervision, while students benefit from personalized music instruction in a nurturing setting.

Each intern will teach four students per week, collaborate in weekly team meetings, and receive mentorship to help refine lesson planning and communication skills. At the end of each session, both interns and students will be assessed to measure learning outcomes and program impact.

This pilot aims to grow into a sustainable partnership between arts educators and community organizations, creating a model where piano teaching not only builds musicianship but also fosters connection, empathy, and opportunity across generations.


Penny Lazarus: Fun Friday with ESOL Students

At Penny Lazarus Piano Studio in Lowell, Massachusetts, music is a bridge between cultures. Partnering with the International Institute of New England (IINE), Penny Lazarus is launching a Fun Friday event to connect her students with refugees and immigrants enrolled in ESOL (English for Speakers of Other Languages) classes.

This collaboration serves three powerful goals: fostering cultural understanding, deepening piano students’ engagement with diverse musical traditions, and helping newcomers practice conversational English through joyful singing. Within a project-based curriculum, students study and perform music from countries such as Afghanistan, the Democratic Republic of Congo, Haiti, and Ukraine, broadening both empathy and repertoire.

The Fun Friday gathering will transform the ESOL classroom—complete with its acoustic piano—into a space for collaborative music-making, shared meals, and intercultural friendship. Piano students will accompany songs, strengthening their aural and ensemble skills while supporting others’ language learning in a safe, celebratory atmosphere.

With the help of a Community Impact Grant, this initiative turns a simple idea—singing together—into a profound act of connection and understanding.


Raphaelita Justice: Group Piano Lessons at Pottstown Library

Raphaelita Justice’s Group Piano Lessons at Pottstown Library brings free, accessible music education to the heart of the community. Through monthly group piano classes for children and adults, this project transforms a public library into a hub of creativity, learning, and connection.

These open, beginner-friendly sessions welcome anyone interested in exploring the piano—no prior experience required. For participants eager to dive deeper, the program also offers 6-week seasonal group courses that use interactive materials and technology to strengthen musical skills.

To ensure continued access and growth, the Muse Piano Academy scholarship—developed in partnership with the Music Link Foundation—will make private lessons affordable for students ready to advance further. The project even provides digital pianos for free 15-minute practice slots, allowing learners without instruments at home to continue practicing regularly.

By situating piano learning within a trusted community space, Justice’s initiative removes financial and psychological barriers, proving that music education can be truly inclusive. Group Piano Lessons at Pottstown Library reminds us that when piano learning is accessible to everyone, the entire community benefits.

Interested in learning more about how you can innovate in your community to make a difference? Join our upcoming webinar “Innovation – Understanding Our Communities and Their Needs” on Friday, November 7, 2025 at 11:00AM ET. Learn more and register here: https://pianoinspires.com/webinar/understanding-our-communities-and-their-needs/

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    Keyboard Companion Spring 2003; Vol. 14, No. 1
    Page 5: The Editor’s Page Elvina Pearce Page 6: On the cover Page 7: Readership Survey Page 10: Teacher/Student/Parent What qualities did you value in your piano teacher? Barbara Kreader with Margaret Otwell and Edna TerMolen Page 16: Home Practice Practice Puzzlers – “What do you do when…?”, part 2…
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Gary Ingle, Advancing the Music Profession through Vision and Leadership | S3 E6 

In this episode of the Piano Inspires Podcast, Gary Ingle joins host, Jennifer Snow, to discuss his numerous contributions to the music field. Ingle shares his unique educational journey, inspiring career with MTNA, and reflects on a life in music. Join us for an inspiring conversation with a man who has dedicated his life to furthering the music profession.

5 Key Elements of Foundational Piano Pedagogy



1. Teachers should use words that are relevant and efficient while considering other powerful ways to communicate. 

Teachers use words to teach concepts, praise students, and offer feedback. Words used to give praise and feedback should focus on the music–how it sounds, looks, and feels, rather than the student’s personal ability. Specific, sincere, and descriptive words are more memorable than a vague “good.” Change “should” statements into “could” statements and offer open-ended questions to help students explore and learn for themselves. In teaching concepts, the fewer and more specific words the better. Consider how you might teach without words–a demonstration, a light touch, or physical gestures. Always remember as Frances Clark taught, “Teaching is not telling.” 

2. Create your own comprehensive curriculum using method books and other resources only as tools.

Effective teaching in the elementary years requires establishing a strong foundational curriculum to ensure successful, lifelong music-making. While method books and graded repertoire collections provide materials, a teacher’s unique curriculum lies in their sequencing of fundamental objectives underneath the music. In creating a core curriculum, consider elements of music such as fluent and free technique, ease in reading notation, stable pulse and rhythmic vitality, personal creativity, effective practice methods, and love of music with commitment to growth. Later principles build upon earlier learning to build high levels of comprehension and retention. 

3. Provide opportunities for students to experience concepts

Students learn best when they encounter a concept through experience rather than being lectured. Teachers should prepare students for new concepts with activities to help them hear and feel them first. For example, students can hear/see a staccato performed then feel it in their own hands before learning its name and symbol. Consider activities away from the bench and using improvisation to naturally experience concepts. Remember this experiential approach with “Sound, Feel, Sign, Name.”  “Easy teaching”–flipping the method book page and telling students what it teaches–does not lead to lasting comprehension.

4. Students provide their own motivation; teachers carefully foster it.

Understanding student motivation is critical for music educators, as it drives a student’s desire, persistence, intensity, and self-evaluation while learning an instrument. Motivation is integral to helping students develop adaptive behaviors and achieve personal goals. To better understand student drive, consider these five motivational theories:

  1. Expectancy Value Theory: Explores the alignment of student/teacher goals and the balance of intrinsic/extrinsic motivation.
  2. Self-Efficacy Theory: Focuses on a student’s belief in their own abilities, which teachers can build through achievable opportunities.
  3. Flow Theory: Suggests optimal motivation occurs when task difficulty and student skill are appropriately balanced.
  4. Attribution Theory: Addresses the reasons students give for their success and failure.
  5. Mastery Motivational Patterns: Explains a student’s persistence through difficulties due to setting achievable goals

5. Keep lessons focused on beauty and musical expression

As D.H. Lawrence said, “The human soul needs beauty more than bread.” Make musical expression the primary focus of every lesson. Teachers must passionately model this beauty, not forcing appreciation but sharing their own excitement. Consider the following ideas to keep lessons focused on beauty and avoid getting bogged down. 

  • Model beautiful, powerful, and poignant sounds; expose the student to a new sound world they will desire to recreate. 
  • Encourage composition to personalize the sound-expression link.
  • Play duets to model rhythm and expression.
  • Provide “Musical Rules of Thumb” such as, “The last note of the phrase is the quietest” to promote independent interpretation.
  • Help students take the lesson home by summarizing or recording.
  • Maintain a file of “Beautiful Pieces” to be shared from the first lesson.

Interested in enrolling in the Fundamental Course? Click here to learn more about this resource: https://pianoinspires.com/course/foundational-piano-pedagogy-self-guided/.

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    Keyboard Companion Spring 2003; Vol. 14, No. 1
    Page 5: The Editor’s Page Elvina Pearce Page 6: On the cover Page 7: Readership Survey Page 10: Teacher/Student/Parent What qualities did you value in your piano teacher? Barbara Kreader with Margaret Otwell and Edna TerMolen Page 16: Home Practice Practice Puzzlers – “What do you do when…?”, part 2…
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Pamela Pike, Inspiring a Lifetime of Learning through Piano Education| S3 E5 

In this podcast episode, musician and educator Pam Pike shares experiences from her youth and beyond that inspired her to become a piano teacher. In this impactful conversation with host Craig Sale, Pike reflects on her career paths and the role of piano teachers in today’s world. Tune into the Piano Inspires Podcast to hear more!

5 Ways PianoInspires Can Transform Your Scale Practice



Ready to move beyond basic drills? The magazines, videos, and publications at pianoinspires.com are packed with fresh, effective ideas to elevate the technique of your piano students and your own practice.

1. Unlock Speed with the 3s and 4s Fingering Rule

Tired of tricky fingerings? The Summer 2024 Issue of Piano Inspires Kids provides a fresh look at scale mastery by focusing on simple, repeatable rules. The core idea? All major and minor scales use an alternating pattern of three- and four-finger groups. A diagram is included to help students coordinate thumb crossing while playing hands together. By mastering these groups and vocalizing the key signature, students can quickly build speed and confidence. Download fingering guides for 5-finger and two-octave runs here.

2. Turn Practice into an Olympic-Style Tournament

Just as athletes compete, your students can participate in a “Technique Tournament” complete with judges and celebratory medals. Organize the event with a colleague, let students hear each other perform their assignments, and celebrate with a closing ceremony. Downloadable scoring sheets from Piano Inspires Kids track notes, fingering, velocity, and tone, motivating players to perform with technical excellence and beautiful sound.

3. Apply Technique Musically in Real Repertoire

Performing these figures beautifully in real repertoire is the ultimate goal! Technique through Repertoire applies your practice by isolating passages with major, minor, and chromatic runs. Students will work on a rising and falling C major run as it bounces between the hands in Beyer’s Etude in C major and a cascading chromatic sweep in Streabogg’s The Whirlwind.

4. Discover Creative Drills from a Master Teacher

Marvin Blickenstaff’s Foundational Technique video series surveys a host of technical skills and drills. In “Scale Routines” he delves deep into mastery, offering fresh drills to prepare students for pieces. These include announcing keys to solidify theoretical knowledge, accompanying them with Alberti bass patterns to prepare for sonatinas, and playing in various rhythmic patterns to build a sense of pulse and develop endurance.

5. The Advanced Challenge: Double-Thirds Scales

Delve into Piano Magazine articles for more ideas. For the ambitious student, Dan Landsdown’s article on “Practicing Double-Thirds Scales” in the September 2017 Issue is essential reading. This disciplined work is critical for achieving finger independence, exceptional tone control, and a perfect legato between note pairs. This practice will secure and elevate a student’s musicianship. Read the full article here.

Regardless of where your students are on their path to scale success, resources from pianoinspires.com will help keep your studio fresh and motivated in improving their technique.

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  • You might like…

    Keyboard Companion Spring 2003; Vol. 14, No. 1
    Page 5: The Editor’s Page Elvina Pearce Page 6: On the cover Page 7: Readership Survey Page 10: Teacher/Student/Parent What qualities did you value in your piano teacher? Barbara Kreader with Margaret Otwell and Edna TerMolen Page 16: Home Practice Practice Puzzlers – “What do you do when…?”, part 2…
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