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This course offers teachers practical pedagogy for the teaching and performance of select piano repertoire by Black composers Valerie Capers, Ignatius Sancho, Chevalier de Saint-Georges, Harry T. Burleigh, Estelle Ricketts, and R. Nathaniel Dett. Enter code BACK2SCHOOLat checkout for 20% off.
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Jane Magrath’s book is an invaluable resource for teachers and performers alike. If you are looking to broaden your repertoire selections for the coming school year, use code BACK2SCHOOL to receive 20% off this essential text.
Inspired Piano Teaching is filled with practical advice on teaching students of all levels. It is dedicated to keeping inspiration and artistry alive for every student in every lesson. 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. Use code BACK2SCHOOLat checkout for 20% off.
Robert Weirich provides a collection of essays written over the past four decades. Recollections explores pursuing a career as a musician and the successes and failures that occur throughout this journey. Use code BACK2SCHOOLat checkout for 20% off.
The month of August is a time of beginnings as a new academic year begins—children go back to school, and piano studios fill with new students eager to play. Read below to discover more about piano history in the month of August including the birth of two important composers, the completion of a major symphonic work, and the death of a legendary pianist.
Cuban composer, Ernesto Lecuona.
August 7, 1896
Cuban composer Ernesto Lecuona was born in Guanabacoa, Havana, Cuba on August 7, 1896.1 Famous for his numerous pieces for piano based on Cuban dances and songs, Lecuona was a talented pianist and composer. Studies at the National Conservatory in Havana in 1913 led to additional studies with composer Joaquín Nin, as well as travel throughout the world to perform.2 His music has been championed by pianist Thomas Tirino, whose editions and recordings are a useful resource for anyone wanting to learn more about Lecuona’s music. Among his most popular works is the Suite Andalucia, which includes the famous selection titled “Malagueña.” Interested in learning more about music from Cuba? Read this article by Elizabeth Borowsky to learn more about her experience connecting musically with others in Cuba:
On August 10, 1788, Mozart finished the Symphony No. 41 in C Major, K. 551, nicknamed “Jupiter.” The last symphony that Mozart wrote, it is one of his crowning achievements, demonstrating his ingenious approach to form and counterpoint. This four-movement work concludes with a remarkable finale that includes an impressive fugato coda. The work has become one of his most popular in the symphonic realm, alongside his Symphony No. 40 in G Minor, K. 550. Are you working on or teaching music by Mozart? Learn tips about Mozart’s style and his Fantasie in D Minor, K. 397 in this video by pianist Sean Schulze.
Born in China on August 18, 1957, Tan Dun is an American composer well known for his compositions that blend Western and Eastern musical elements.3 He studied at the Central Conservatory of Music in Beijing before moving to the United States and completing his doctoral degree at Columbia University.4 Among his many achievements are winning an Academy Award for Best Original Score (Crouching Tiger, Hidden Dragon) and a Grawemeyer Award in Music Composition. His piano work Eight Memories in Watercolor is particularly popular, and was performed by Lang Lang in Carnegie Hall in 2003. Interested in learning more about this composition? Yu Han’s prizewinning article discusses the cultural and practical implications of this work. Read more by clicking here.
On August 22, 1976, Greek pianist Gina Bachauer passed away in Athens, Greece. A graduate of the Athens Conservatory and the Ecole Normale in Paris studying under Cortot, she traveled around the world performing with orchestras such as those in Paris and Athens, along with tours throughout the United States.5 During World War II, she performed hundreds of concerts for allied troops in Egypt.6 Her incredible career and legacy resulted in the establishment of the Gina Bachauer International Piano Foundation, founded in 1976.
Now that The Piano Conference: NCKP 2025 has passed, we would like to thank Janna Peña and Anthony Ty for this insightful post about their experience as new professionals at the conference. Look for news about The Piano Conference: NCKP 2027 in fall 2026!
New professionals, including Anthony Ty and Janna Peña at The Piano Conference: NCKP 2025.
Attending The Piano Conference: NCKP 2025 was a meaningful experience: inspiring, grounding, and energizing. As new professionals, we arrived with a sense of excitement and a few quiet nerves. But we left with renewed confidence, a handful of practical tools, and a beautiful community. Here are some of the highlights of what we learned:
1. Everyone Has a Seat at the Table and Creative Ideas Thrive in Community
Janna: The Innovation Summit was a reminder that no matter where we are in our careers—just starting out, running a successful independent studio, or leading higher education—we share similar goals, hopes, and challenges. The summit emphasized belonging in the piano teaching community. It reminded me that we don’t have to follow a rigid blueprint for success. Instead, we can lean into our unique voices and carve out a space that reflects our passions and values.
One major takeaway from the summit was that innovation doesn’t happen in isolation. When we shared ideas in breakout groups, whether for community projects, student engagement, or performance opportunities, we found that encouragement from peers and mentors helped transform abstract visions into real possibilities. The pressure to “prove” myself faded in those moments, replaced by a new sense of motivation and purpose.
Anthony: The Innovation Summit helped me realize just how global our profession truly is, and how much impact piano teachers have on the world. When teaching privately, it’s easy to feel isolated and fall into the mindset of “we’re just piano teachers.” But through brainstorming sessions, workshopping ideas, and engaging in design-thinking projects, I was reminded of the profound power we hold as educators. It was a powerful experience to recognize that, as piano teachers, we all contribute to something far greater than just our individual studios.
2. Concert Repertoire Can Be Diverse and Deeply Engaging
Janna: The Celebration Concerts were a real highlight of the conference. What stood out most was the diversity, not only in the styles of music but in the stories and identities of the performers who brought them to life. There was everything from classical to jazz to contemporary to pieces by underrepresented composers, and every performance felt intentional and deeply expressive. It reminded me that great music doesn’t have to fit into one box. Whether it was something familiar or completely new, the music connected with the audience in a powerful way. As both performer and teacher, it encouraged me to continue expanding my musical horizons and to share works that reflect a broader range of voices and stories.
Anthony: The spotlight on underrepresented composers and music extended past the concerts and into the conference programming. Learning about composers and works from Vietnam, Colombia, Cuba, Guatemala, and more, inspired me to explore my heritage and seek out active composers in our community whose music I can perform and teach, moving beyond the standard repertoire I often find myself relying on year after year.
3. Behind Every Great Performance Is Great Teaching
Janna: The teaching demonstrations gave a rare glimpse into the journey behind the stage. Watching experienced teachers work with students was powerful. Their patience, flexibility, and creative use of tools highlighted the importance of process over product. It inspired me to embrace the long game in my own teaching, trusting that with consistency and genuine care, my students will thrive.
Anthony: One other observation that stood out was the emphasis on individuality in teaching and working with students. Each student-teacher dynamic was unique, and every teaching style varied, which reinforced the importance of watching other educators in action. As individual teachers, it’s easy to fall into a familiar routine, but witnessing different approaches serves as a reminder that there is no single “right” way to teach. Each teacher brings their perspective and methodology, and embracing this diversity in teaching styles only enriches our collective understanding and approach.
4. Resources We Never Knew We Needed
Janna: The showcases and Exhibit Hall were treasure troves of discovery. I found everything from method books I hadn’t heard of to adaptive tools like the Athena keyboard with narrow keys. Digital platforms like SuperScore opened up new possibilities for interactive teaching. As a new professional still building my toolkit, it was empowering to see how many innovative resources are out there to support both educators and students.
Anthony: There’s something special about picking up books, activities, and tools in person. It’s just not the same as looking at them online. Honestly, I think we all miss the days of wandering through in-person music stores, and the Exhibit Hall gave me that “kid in a candy store” feeling. However, it wasn’t just great for discovering new products, but also provided a chance to talk with the exhibitors and hear about their latest innovations. Those conversations gave me fresh ideas and got me thinking about what I could bring into my teaching.
5. Finding Our Community
Networking events like the New Professionals Pizza Party were more than just social breaks. Meeting others at a similar stage of their careers, sharing laughs about the same teaching challenges, and dreaming about future collaborations gave a sense of camaraderie. Throughout the conference, we also met seasoned professionals whom we each now consider potential mentors. These relationships are what we’re most excited to carry forward after the conference.
Janna: As an international student, it felt especially meaningful to find a seat at the table. At the start of the Innovation Summit, one of the interactive activities was placing a sticker on a world map to mark where we first began learning the piano. Seeing dots from across the globe was incredibly moving. Despite our varied backgrounds, we all carried the same deep-rooted love for music and a shared vision for the future of piano teaching. In that moment, I truly felt part of a community that celebrates diverse journeys and welcomes fresh voices.
Anthony Ty: As a recent graduate, this conference provided an invaluable opportunity to reconnect with a professional community that can sometimes feel lost after leaving college. Especially when teaching privately, it is easy to feel isolated, disconnected from the collaborative environment in school. The chance to engage with fellow piano teachers who share similar goals and motivations was both invigorating and inspiring, offering a renewed sense of energy and purpose.
Final Thoughts
Attending The Piano Conference: NCKP 2025 was a beautiful opportunity to reflect on why we, as piano educators, do what we do. As new professionals, we often struggle with building our identity in a field where experience is highly valued, but this conference reminded us that growth isn’t about achieving perfection; it’s about continuing to evolve with others.
The connections made at the conference reinforced that we are all part of a larger, vibrant community. From seasoned professionals to those just beginning their journey, the exchange of ideas and stories highlighted the importance of shared experiences. Every teacher, regardless of their experience level, brings something unique to the table.
By coming together to learn, connect, and reflect, we were reminded of the profound impact we have as pianists and educators. This four-day conference has left us inspired to continue growing as pianists, reinvesting in our own artistry so we can better model curiosity, creativity, and resilience for those we teach. We also move forward with a deeper passion for nurturing our students and a commitment to helping them discover their own voice and love for music in a world that can often feel uncertain.
We would like to thank Molly Gebrian for this article about interleaved practice. To read the full article from the summer issue of Piano Magazine, click here.
Most of us practice using a blocked practice method: we work on one thing for a large block of time before moving on to something else. We typically don’t revisit that piece or passage again until the next day because we’ve done our practice on it for the day. In contrast to blocked practice, interleaved practice entails constantly switching between different pieces or passages, and coming back to them repeatedly throughout a practice session or day. Rather than spending over thirty minutes on one passage, you might spend 5–10 minutes on it before working on something else for a while, then return to the initial passage for 5–10 more minutes, take another break to work on other pieces, and finally return to the first passage once more for 5–10 minutes.
On the face of it, interleaved practicing sounds incredibly chaotic and unfocused and might seem unlikely to lead to any performance gains, but research shows otherwise. For example, in a study on baseball players who were trying to improve their batting average, the athletes were split into two groups: the blocked practice group and the interleaved practice group.1 The blocked practice group hit different types of pitches in blocks of fifteen which included fifteen fast balls, fifteen curve balls, and fifteen change-up pitches. In contrast, the interleaved practice group hit forty-five total pitches, but the order was completely random. They never knew what they would get from one pitch to the next.
While they were practicing, it looked like the blocked practice group was doing better. This makes sense—they knew what was coming at them and they just had to hit the same kind of pitch repeatedly. The interleaved practice group, on the other hand, had to adjust on the fly, which is much more difficult. However, when the baseball players were brought back two days later to test how much their hitting had improved, the blocked practice group had made a 25% improvement, whereas the interleaved practice group had made a 57% improvement and were outperforming the blocked practice group.
Similar results were found in a study on pianists.2 In this study, the pianists all had to learn a series of short pieces that were composed specifically for the experiment. Some of the pieces were learned using a blocked practice method while others were learned using an interleaved practice method. Like the baseball players, when they had to perform all the pieces, those they had learned using an interleaved practice method were performed much more successfully.
There are countless other studies on interleaved practice which all show the same thing: interleaved practice is more effective for learning and performing well.
We hope you enjoyed this excerpt from Molly Gebrian’s article about interleaved practicing. You can read the entire article by clicking here.
Thanks to Trevor Thornton, member of the New Professionals Committee for The Piano Conference: NCKP 2025, for this post. Only a few days until the conference begins. Haven’t registered?Register for The Piano Conference today!
So, it’s your first time at The Piano Conference: NCKP. You are probably curious about what to expect. I remember the feeling well. My first NCKP changed my life, and it might change yours too. The Piano Conference has a gift for you regardless of the stage of your career, whether you are a piano performance major searching for your role in the field, an experienced teacher looking for friendships and inspiration, or a seasoned veteran who wants to leave your mark on the future of the profession. Each person will have different takeaways, but I believe we will all share these four in common:
New Performance Ideas
If you are looking for inspiration in your performance career, you can expect to gain many ideas from the presentations and performances at The Piano Conference: NCKP 2025. Several presentations this year are lecture recitals that will reveal the music of underrepresented composers. Take note! You might find yourself with an entirely new recital program by the end of the conference. There will also be performances, including evening concerts, lunchtime concerts, the New Professionals Concert, and a jazz concert. Each concert can be both inspiring and instructive, a place to learn how the performers of today shape their careers.
New Teaching Ideas
It is impossible to leave The Piano Conference without picking up hundreds of teaching ideas—some brand new and some helpful reminders. If you are a student or recent graduate, you will be drinking from a firehose of new information and perspectives. My advice? Try to absorb as much as you can, and decide what to implement or research further after the conference. One danger for us younger professionals is to pre-judge new information before understanding it, so make an effort to learn about as many approaches to teaching as possible!
New Connections
Marvin Blickenstaff talks about creating moments of expressive music-making in each lesson. He calls them “Purple Moments.” For me, the Purple Moments of The Piano Conference are the conversations with new and old conference friends and the moments of connection with like-minded colleagues. Pianists and piano teachers frequently work in isolation, making it even more important to create opportunities to deepen relationships with people who face similar challenges. You might find someone who has helpful answers to some of your professional questions! You might even meet a future employer or mentor.
Inspiration
Inspiration is subjective, but I believe it is impossible to leave The Piano Conference without a spark of it. It is incredibly stimulating to hear seasoned professionals discuss their teaching, research, and practice habits. There is a contagious level of dedication in the air. You will meet highly experienced teachers who are as passionate as ever about improving their craft. Best-case scenario, even the way you feel about your students will change as you listen to other devoted teachers speak. To paraphrase Jane Magrath’s acceptance speech for her NCKP Lifetime Achievement Award in 2019: Our students are lights that illuminate our paths, showing us the next steps in our careers. That beautiful imagery has been with me in many lessons since. I trust you will encounter similarly transformative ways of thinking at The Piano Conference: NCKP 2025. I hope to see you there!
On Wednesday, July 23rd from 8:00-10:00pm, The Piano Conference: NCKP 2025 will present the 2025 Celebration Concert featuring pianists Rochelle Sennet, Connor Chee, Alexa Stier, Carol Leone, Derek Hartman, Artina McCain, Spencer Myer, Susanna Garcia, and William Chapman Nyaho. In celebration, we are sharing this excerpt from Artina McCain’s appearance on the Piano Inspires Podcast. Interested in hearing more from McCain? Register for The Piano Conference: NCKP 2025 today by clicking here.
Artina McCain performing at NCKP 2023: The Piano Conference.
Andrea McAlister: One thing I love so much—and I ran out and got a copy as soon as it was available—is your publication with the 24 African American folk tunes. Just beautiful music.
Artina McCain: Oh, thank you.
Andrea McAlister: I think giving this gift to young students is—it’s tremendous. I just, I love the whole collection. I’ve given them out to my students. They’re all excited to play them. What does it mean to you to be able to create that for students? How did you come across this project to begin with?
Artina McCain: Oh, well, interestingly enough, I’m glad you asked that, because nobody’s ever asked me that. Way back in the day, when Piano Magazine was Clavier Companion, I was doing some reviews for some of the books that would come out for Hal Leonard, like at the beginning of my career. I actually ran into a woman who was working on the editorial staff at the time, and she said, “Hey, you want to do some reviews?” Like sure. That had to be at least a seven to eight-year difference between the time that Hal Leonard approached me. So basically, they had seen my review all those years ago, and she calls me and says, “You know, you wrote a really great review for us.” “Like eight years ago!” “You want to write a book?” “What?” That’s exactly how it happened. Wow, you never know who’s watching your work.
Artina McCain
Andrea McAlister: You never know. And that’s where perseverance also pays because you never know what’s going to come around.
Artina McCain: Right. So you know, they in the meantime have created this fantastic folk song series of books that represent people from all over the world. They said, “Oh, we want to do the African American version of this. Do you want to do it?” “No! [Laughs] I never wrote a book in my life! Are you sure that you are calling the right person?” [Laughs] So they convinced me and I’m so glad that I did because you know, those resources weren’t available for me when I was a kid. You know, maybe I could have been a singer if my mom could have found some books to encourage me. So no, it means the world. And again, I’m glad that I kind of stepped out on faith to do it because it wasn’t something that I even dreamed that I would do, or that I dreamed would come out of doing a book review, you know, like eight years prior.
Andrea McAlister: Right? You just never know who’s watching and reading and appreciating the work that you are doing.
Artina McCain: Absolutely.
Andrea McAlister: I think through this book, you have created so many people who are appreciative that you’ve done the work. That you didn’t say no.
Artina McCain: Right?
Andrea McAlister: Even though you didn’t say no initially. But they convinced you that you really should do this. Because just being able to experience things other than Clementi—I mean, I know those are all important foundational—you know, you learn a lot of foundational skills through the standard repertoire. But this is such important music to pass along to kids who are growing up now and getting excited about playing the piano, and these pieces are so exciting to play.
Artina McCain: Yeah, and familiar hopefully to many too.
If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Artina McCain on Apple Podcasts, Spotify, YouTube, or our website!
The Piano Conference features an inspiring lineup of artists and teachers from July 23-26, 2025. Read more about the teaching demonstrations, lunchtime concerts, and New Professionals Concert below, and view the full schedule here.Want to hear these amazing demonstrations and concerts live? Register for The Piano Conference today!
TEACHING DEMONSTRATIONS
The Transformation of Advanced Pianist to Artist
Friday, July 25 | 12:00–1:00 PM
Join leading teachers as they share videos of collegiate students that demonstrate growth of artistry over time. The teaching demonstration includes discussion of teaching approaches that have cultivated the emerging professional’s sense of self as an artist, through developing their technique, listening skills, and command at the piano.
Facilitator: Carolyn True
Teachers: Artina McCain, Spencer Myer, Alexandra Nguyen, Jerry Wong
Student Growth through Foundational Principles
Saturday, July 26 | 12:30–2:00 PM
Join leading teachers as they share multi-stage teaching videos that highlight student growth between lessons. The teaching demonstration includes a variety of student levels and a discussion focused on using foundational principles to spur the growth of understanding and development of skill.
Facilitator: Sara Ernst
Teachers: Mario Ajero, Margarita Denenburg, Annie Jeng, J. P. Murphy
LUNCHTIME CONCERTS
Thursday, July 24 | 12:30–1:30 PM
This program brings together a wide range of composers, from early Baroque to today’s emerging voices. It features contemporary works by Kevin Swenson, Nicholas Ho, Chen Yi, and Alexina Louie, alongside Italian composer Teresa Procaccini and French Baroque pioneer Elisabeth Jacquet de la Guerre.
Friday, July 25 | 1:00–2:00 PM
This concert features works by 20th- and 21st-century composers with pieces that share personal experience and creative ideas. The program includes Florence Price, Jocelyn Hagen, Eugene Astapov, and Momoro Ono, as well as virtuosic performances of works by Lowell Liebermann and a dynamic arrangement of Danse Macabre by Liszt, Horowitz, and Sean Bennett.
NEW PROFESSIONALS CONCERT
Thursday, July 24 | 5:00–6:00 PM
This concert showcases the artistry and perspectives of emerging pianists, offering fresh interpretations of a diverse range of works. The program features music by George Walker, Emma Lou Diemer, Leoš Janáček, Christian Hurtado Carrillo, Władysław Szpilman, Grażyna Bacewicz, Alexandre Arutunian, and Arno Babadjanian.
PEDx speakers and panelists at The Piano Conference: NCKP 2025 will discuss visions for jazz piano pedagogy, A.I. in music, Indigenous composers, and piano suites. Don’t miss these inspiring sessions! Haven’t registered for The Piano Conference: NCKP 2025 yet? Register here.
Friday, July 25, 2:00-4:00 PM CDT
Harmony in Contrast: Four Jazz Pianists Discuss Their Visions for Piano Pedagogy – Jeremy Ajani Jordan, Edward Simon, and Miki Yamanaka, with Jeremy Siskind, host Jazz and classical piano used to be worlds apart—but traditional boundaries are fading fast. As new generations of pianists fuse styles and blend genres, it is more crucial than ever that piano teachers have a basic understanding of jazz tradition and pedagogy. This panel of four accomplished jazz pianists will share their piano education journeys, discuss what they wished piano teachers understood about their vocation, and map an inclusive vision for the future of piano education.
Celebrating the Human Element: What Piano Study Can Offer in a World of A.I – William Westney Artificial Intelligence permeates our daily lives more and more, and uneasy questions about AI find their way into many of our thoughts and conversations. One persistent concern is, “If AI can carry out complex tasks so effortlessly and instantly, and even create impressive works of art, what’s left that’s uniquely and essentially human?” For us, as piano teachers, this question hits home. Perhaps we have a new role to play today. This is a time for a fresh appreciation of, and dedication to, the precious “human element” (e.g., physical enjoyment, spontaneity, the felt connection with others through music) at the piano.
Stands with Eagles – Roberta Rust Celebrating Louis W. Ballard (Quapaw/Cherokee), the first and foremost indigenous North American composer of art music, Rust plays his Four American Indian Preludes (1963) and discusses the use of honor beats (considered gifts from the Great Spirit), powwow song shape, and imitation of tribal instruments. Rust and Ballard met in the 1980s when she premiered two of his Concert Fantasies at Carnegie Recital Hall. His Quapaw name, “Honganozhe,” means “Stands with Eagles,” and as an educator, Dr. Ballard was music program director for the Bureau of Indian Affairs, earning a citation in the Congressional Record.
Bach to Black: The Journey of Exploring Piano Suites – Rochelle Sennet Serving as an objective of continued conversation regarding inclusion and equity in classical music, “Bach to Black: Suites for Piano” represents Dr. Rochelle Sennet’s exploration of repertoire by Black composers in combination with works of Johann Sebastian Bach. Sharing her story of performing and recording the complete keyboard suites of J. S. Bach as well as nineteen suites and multi-movement works by seventeen Black composers, the aim of this PEDx talk is to share personal insights as well as provide recommendations on programming through storytelling, audience engagement, and fostering community in classical music.
On Wednesday, July 23rd from 8:00-10:00pm, The Piano Conference: NCKP 2025 will present the 2025 Celebration Concert featuring pianists Rochelle Sennet, Connor Chee, Alexa Stier, Carol Leone, Derek Hartman, Artina McCain, Spencer Myer, Susanna Garcia, and William Chapman Nyaho. In celebration, we are sharing this excerpt from Connor Chee’s appearance on the Piano Inspires Podcast. Interested in hearing more from Chee? Register for The Piano Conference: NCKP 2025 today by clicking here.
Connor Chee, Ann DuHamel, Leah Claiborne, and Sara Davis Buechner after their NCKP 2023: The Piano Conference PEDx presentations.
Craig Sale: Which brings me to a project, which I’m familiar with. It is an exciting one with the Frances Clark Center. You are, along with Renata Yazzie, leading a project of commissioned works by Indigenous composers for young piano students or for elementary students. We’ve been working on the project together, but one thing we haven’t talked about is what does this project mean to you? What do you hope to achieve by it, but also on a more personal level, what meaning does that hold for you?
Connor Chee: I think it’s important on so many levels. I think the first is the level of communication, because music is a great way to communicate and to foster curiosity. That’s something that with my music I tried to do, and I’m always surprised at the conversations that open up with other cultures and things that I learned about other people because they found something in the music that relates to Diné culture that also relates to some aspect of their unique background. Those are the conversations that are so important to really be able to celebrate the diversity and what makes everybody unique and what they can bring to the table. Specifically in the Indigenous communities, I think it’s important because it shows possibility. They’re seeing things that are placed in front of them that they can say, “Hey, maybe I want to do this someday. Maybe I want to be a composer. Maybe I want to play piano.” You know, these are things that are—there’s a place for us, and it’s important for students to see that there is a place for them if they want to pursue music or whatever avenue it is. That wasn’t the case because in the past, you know, the representation was so flawed, and it wasn’t really a representative quotation that was more of a mockery, yeah, that had, you know, a negative impact.
CS: Representation that’s not a cartoon.
CC: Right?
CS: Something that they can actually relate to.
If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Connor Chee on Apple Podcasts, Spotify, YouTube, or our website!
On Friday, July 25th from 2:00-4:00pm, The Piano Conference: NCKP 2025 will present PEDx talks, highlighting exemplary work and projects performed by members of our community. In celebration, we are sharing this excerpt from Rochelle Sennet’s appearance on the Piano Inspires Podcast. Interested in hearing more from Sennet? Register for The Piano Conference: NCKP 2025 today by clicking here.
Rochelle Sennet
Sara Ernst: I’m getting the sense that you have a laser vision towards something, and if you put your mind on it, it’s going to happen.
Rochelle Sennet: That’s it. [laugh] Yeah, I will own that. Yes. I was that kid. I’m still that adult.
SE: Yeah, no, I love that. Now my question is, if you’ve now had a student like that? How has that experience been for you when you see that in a student?
RS: It’s the coolest thing because I can at least be able to explore this, try this, and try this. And this is why, if a student immediately [wants] to specialize in only one composer—and I understand where that is and try this, you don’t want to stifle that—but then that’s where I like to share my story, yeah, to say you never know. And this is the part where you learn everything. And even if you come away from saying you’ll never, ever play Mozart, or ever, ever play J.S. Bach, ever again, you could at least be able to teach your own students and say, “Hey, maybe it doesn’t connect with me, but at least be able to play it, at least keep the options open.”
So yes, it’s actually always fun when I get students that are just very energetic or just have a lot of focus. But I also recognize that I don’t get a lot of students that [say] “this is what I definitely want to do.” And of course, we all started with one thing, and then come out [of] college with something different. A lot of us do, yeah. It’s always a hard line to, I mean, [a] fine line to walk, because you don’t want to stifle a student’s creative energy just when you figure out what makes them tick. So it’s always a little different with every student.
But I also, what I love about [it] is the problem solving [part] myself. Yeah, you figure out, just even with something technical, or just figuring out, what is it that makes this student tick with the composer that they are connecting with, and why [by] just listening to them. And then, if they like this, maybe they might like this or this. And so I’m just problem-solving. You want the students to be able to play pieces that they love. And they enjoy. That’s why we do music in the first place. And so I never want to be that teacher to stifle that energy. And also, I want to use that time that I have with the students, to also try this and to encourage them to stay open as well.
SE: So it sounds like you might be a “yes” teacher, in the sense, if your student brings you an idea, you’d say, “Yes, let’s.”
RS: Depends. It’s a yes, no.
SE: [Laugh] So you are a “yes–no” teacher.
RS: In fact, someone’s students, actually, they’ve heard me say this. Well, they asked me a question: “Well, should I do it this way?” “Yes, no.” I’ll say why there’s a yes, and then why there’s a no.
SE: Oh, I love this. Can you give an example of that?
RS: So a student might ask, “Well, do you want me to play it that way?” “Yes, no. No, because it’s not what I [want]. [You] are going to be telling the story. So let me explain why this is important.” You give the background, and so then, “Let me show you this way and why this way doesn’t work.” Whether something technical, try it this way, you see what if you’re trying to think about being more proficient getting from key A to key B, if you’re doing extra movements, that’s not efficient. So just something like that is why there’s the “yes,” and here’s why there’s the “no,” and you explain. So my students also know that I want them to be successful. And sometimes that can be some conversations that will also have them think about things. But [being a] “yes” teacher, my students will probably say, I am far from that.
If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Rochelle Sennet on Apple Podcasts, Spotify, YouTube, or our website!
The Piano Conference: NCKP 2025 is just around the corner! With events running from Wednesday, July 23 through Saturday, July 26, the conference will feature concerts, PEDx talks, presentations, and more. Have you registered yet? Register today for The Piano Conference: NCKP 2025 by clicking here.
Having spent a good amount of the last 30 years zig-zagging the skies as a music technology consultant, I have personally experienced nearly every curveball air travel can toss my way. In all this time, through quite a bit of trial and error and by picking up ideas from other veteran travelers, I have collected some handy strategies I find myself using over and over. As you plan your NCKP travel, I hope you’ll find these useful, too!
Plan Early!
The one advantage I have found over and over is that early planning pays off. Even if you don’t purchase a ticket early, you can start looking at prices and be ready to buy when you find a good fare. My favorite tool for researching fares is Google Flights. By setting up a fare alert at google.com/flights, you can receive notifications when the fares have dropped. You can also look at a historic price graph and see predictions for the dates you want to travel. Keep in mind, predictions are not guarantees, and you still want to purchase at least three weeks in advance when possible. Also note that some airlines, like Southwest, do not allow Google Flights to display their fares, but they will still be indexed in the overall cost rankings.
Be Flexible!
Fares can vary widely from one day to the next, so if your travel is flexible, it’s useful to check a day or two outside your target dates. Most booking sites have a grid view with fares for a combination of departure and return dates.
Check one-way fares.
While you’re researching fares, it’s often worthwhile to compare one-way options. Because individual airlines base fares on a range of criteria, flying with different airlines or even to different airports in each direction may save money.
Shana Kirk presenting at NCKP 2019.
Check ALL available airports.
Most flight booking sites allow you to choose “all airports” or “nearby airports” instead of just one specific location. Luckily, Chicago has two excellent and well-served airports with easy connections to lots and lots of cities. Each airport is about half an hour away from the Westin Lombard, so you might as well check both! Additionally, I sometimes even check surrounding cities, in case there’s a lower-cost option to fly to a nearby city and carpool the remainder of the trip with a colleague. Peoria, IL, Rockford, IL, Milwaukee, WI, and Indianapolis, IN, are all within easy driving distance of Chicago, and you may well have a colleague who would love a driving companion.
Beware of add-on fees and look for ways to avoid them.
Many airlines charge extra for checked luggage nowadays, and ultra-low cost carriers charge extra for ANY luggage that doesn’t fit under the seat, not to mention charges like seat selection or early boarding privileges. Some airlines offer subscription services or frequent-flyer credit cards that will offset these fees and sometimes even offer extra perks that make air travel more comfortable (like airport lounge passes).
Always check the airline’s own website before purchasing from a discount travel site.
With all of the tricky bag and seat fees out there, it’s often easier to purchase directly from the airline. Should you need to change flights, the airline’s own website will offer the most flexibility for that as well.
Save on ground transportation.
Taxi or rideshare fares can add up quickly in the sprawling suburbs of Chicago. Plan to share a ride with a friend or use a shuttle service (there are several, depending on your destination airport). There’s even a very low-cost regional bus if you are able to manage your luggage. Rome2Rio.com is a great site for comparing various ground transit options for your needs.
However you travel to The Piano Conference, I can’t wait to see you all there! Bon Voyage!
Register today for The Piano Conference: NCKP 2025 by clicking here.
On Thursday, July 24th from 2:30-4:00pm, The Piano Conference: NCKP 2025 will present PEDx talks, highlighting exemplary work and projects performed by members of our community. In celebration, we are sharing this excerpt from Karen Walwyn’s appearance on the Piano Inspires Podcast. Interested in hearing more from Walwyn? Register for The Piano Conference: NCKP 2025 today by clicking here.
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!
The Piano Conference eagerly anticipates keynote speeches from Randall Faber, Sarah Hoover, and Stanford Thompson. Learn more about the speakers and mark this exhilarating conference on your calendar! Haven’t registered for The Piano Conference yet? Register here.
Randall Faber
Randall Faber has been a guest artist at universities throughout North America and Asia, including the Beijing Central Conservatory, the Shanghai Conservatory, and the Royal Conservatory of Canada. He has been a Convention Artist for the Music Teachers National Association and master teacher for the World Conference on Piano Pedagogy, National Conference on Keyboard Pedagogy, the Australia Piano Pedagogy Conference, the National Piano Teachers Institute, and the Online Global Piano Summit. A Steinway Artist, Faber has given recitals throughout the U.S., Canada, and Asia. He has appeared on international television and on public radio in live recital broadcasts.
Dr. Faber holds three degrees from the University of Michigan and a PhD in Education and Human Development from Vanderbilt University. His research on motivation and talent development has been featured in journals and media in South Korea, China, Australia, and at the 9th International Conference on Motivation in Lisbon, Portugal.
Randall and his wife, Nancy, are authors of the best-selling Piano Adventures® method, which received the MTNA Frances Clark Piano Pedagogy Award. Published in 13 languages, their books reach millions of students around the world. In 2019, Dr. Faber was honored with the inaugural Lifetime Achievement Award in Education from the Roland Corporation.
Randall Faber
Sarah Hoover
Sarah Hoover serves as Associate Dean for Innovation in the Arts and Health at the Peabody Institute, where she is responsible for advancing initiatives that link the performing arts and health within Peabody, Johns Hopkins Medicine, and entities within the university and Baltimore community. Since arriving at Peabody, Hoover has advocated for the health of Peabody’s musicians and dancers by developing curriculum and co-curricular programs to prevent injury and optimize performance, facilitated the creation of the Peabody Clinic for Performing Artists, and supported the start-up of a research lab in performance science. With partners across Johns Hopkins University and Health System, her team is building out a transdisciplinary center of performing arts and health to advance health in and through the performing arts, encompassing research, clinical care, education, arts services, and advocacy.
Hoover’s research in the field of arts in health has led to the development of bedside and lobby music programs throughout the Johns Hopkins Health System and the development of creative aging residencies and sensory-friendly concerts. She has helped to develop Peabody Prescribe, a community arts entity within Peabody Preparatory, offering arts experiences developed in collaboration with researchers and clinicians from Johns Hopkins Medicine that support health and well-being. Along with her book, Music as Care: Artistry in the Hospital Environment, these clinical and community programs have built novel educational and experiential career pathways for musicians in arts-in-health contexts. As part of her commitment to artist workforce development, Hoover serves as board member for the National Organization for Arts in Health. Prior to her appointment at Peabody, Hoover was a performer, teacher of singing, music journalist, and festival director and received degrees from Yale College (BA) and the Peabody Institute (DMA.)
Sarah Hoover
Stanford Thompson
Stanford Thompson (he/him) founded and led music education organization Play On Philly, served as the founding board chair of El Sistema USA, and founded and currently serves as executive director of Equity Arc. In those roles, he has led complex strategic planning and organizational design projects for local and national initiatives that provide equitable arts access for communities and artists.
As a Principal with Goldsmith Strategies, he has guided the strategic development of dozens of organizations across the United States. He has also collaborated with WolfBrown on strategic planning, program evaluation, and establishing new ventures with the support of national institutional funders.
Stanford serves on the faculty of the Global Leaders Institute and regularly speaks at major arts and business conferences and institutions. He has been a TED Fellow, presenting on music as a powerful tool for positive personal and societal change. Stanford holds degrees from The Curtis Institute of Music and New England Conservatory.
The Frances Clark Center announces the release of Easter Monday Swagger: Scherzino for Piano by Thomas H. Kerr Jr., edited by William Chapman Nyaho and Susanna Garcia. Published by Piano Education Press, this edition commemorates Juneteenth with the publication of a joyful, historically rich work that contributes meaningfully to the canon of African American classical music.
Completed on Easter Monday in 1970, Easter Monday Swagger was written for and dedicated to Natalie Hinderas, the distinguished concert pianist and longtime professor at Temple University. Hinderas performed the piece in a series of recitals highlighting works by Black composers, culminating in her groundbreaking 1971 recording Natalie Hinderas Pianist Plays Music by Black Composers on Dest Records.
Easter Monday Swagger is a sectional work that offers contrasting interpretations of the spiritual “Walk Together, Children.” Subtitled A Fantasy “Romp” on “Walk Together, Children,” the piece blends playful, exuberant textures with moments of depth and reflection. The composition almost certainly honors the tradition of Easter Monday as a day of communal celebration within the African American community of Washington, D.C.
The editors, duo-pianists William Chapman Nyaho and Susanna Garcia, have performed together since 1991 and are recognized for their commitment to expanding diversity in piano literature. Their editorial work on this series continues to elevate the artistry and cultural contributions of Thomas H. Kerr Jr.
In celebration of Juneteenth, The Frances Clark Center is pleased to announce the newest publication from Piano Education Press: Easter Monday Swagger by Thomas H. Kerr Jr., edited by William Chapman Nyaho and Susanna Garcia.
Susanna Garcia and William Chapman Nyaho after their performance at NCKP 2023: The Piano Conference.
Easter Monday Swagger was composed by Thomas Henderson Kerr, Jr., and was completed on Easter Monday, March 30, 1970. It was written for and dedicated to Natalie Hinderas, concert pianist and professor at Temple University in Philadelphia, Pennsylvania. Hinderas performed Kerr’s piece, alongside works by other Black composers, in a series of recitals. This repertoire, including Easter Monday Swagger, contributed to her groundbreaking 1971 recording on Desto Records, Natalie Hinderas Pianist Plays Music by Black Composers.
Easter Monday Swagger is a sectional work presenting contrasting interpretations of the spiritual “Walk Together, Children.” Kerr’s subtitle A Fantasy “Romp” on “Walk Together, Children” underscores its playful and childlike character. Yet, Kerr balances a lighthearted, boisterous treatment of the theme with moments of depth and reflection. In the African American community of Washington, DC, Easter Monday is an occasion for community celebration. Kerr’s composition is almost certainly an acknowledgement of this tradition.
About the Editors
Duo-Pianists William Chapman Nyaho and Susanna Garcia have been performing together since 1991, specializing in both the standard repertoire and newly composed works. The Nyaho/Garcia Duo is committed to increasing diversity and representation in the repertoire for solo piano, two pianos, and piano four-hands.
About the Kerr Publication Project
This is the first published edition of this composition and the third in a series of three piano works by Thomas H. Kerr Jr., edited by Garcia and Chapman Nyaho and published by Piano Education Press.
