Spring 2019; Vol. 11, No. 2

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Spring 2019; Vol. 11, No. 2

The Score Speaks: Steps to Interpretation for Growing Musicians

As teachers, we know that there are effective ways in which to analyze a score for musical learning. During my study at the New School for…

by Susan Osborn

Spring 2019; Vol. 11, No. 2

Béla Bartók: Two Romanian Dances, Op. 8a, and the Romanian Folk Influence

It is no secret that the Hungarian composer Béla Bartók was greatly influenced by traditional folk and dance music of Eastern Europe and surround- ing regions.…

by Danny Milan

Spring 2019; Vol. 11, No. 2

The Teaching Legacy of Rosina Lhévinne: An Interview with Daniel Pollack

"Audiences across five continents—North America, Europe, Asia, South America and Africa—recognize the pianism of Daniel Pollack for its signature colors in sound, coupled with over-the-edge thrilling…

by Sonnet Johnson

Spring 2019; Vol. 11, No. 2

Subverting the Pianistic Psyche: Learning Approaches to Webern’s Concerto for Nine Instruments, Op. 24

A well-trained pianist is a musician fundamentally chained to notational accuracy—one of the prime pianistic obsessions. In traditional pianistic modes of learning, embracing tonally centered repertoire, accuracy…

by Ian Holtham

Spring 2019; Vol. 11, No. 2

Spring 2019: Keyboard Kids

To print or save, use the PDF below. Hover your cursor over the document and a black bar should appear with print and download icons. Download…

by Helen Smith Tarchalski

Spring 2019; Vol. 11, No. 2

The Beethoven Piano Sonatas: Frequently Asked Questions

As the 250th anniversary of the birth of Ludwig van Beethoven (1770-1827) approaches, it is a good time to get in the celebratory spirit by answering…

by Peter Takacs

Spring 2019; Vol. 11, No. 2

Spring 2019: Questions and Answers

Q: I’ve read that robots and artificial intelligence will eliminate 50 million jobs in the US within the next few years. Are the robots coming for…

by Samuel S. Holland

Spring 2019; Vol. 11, No. 2

Spring 2019: Recordings

The two leading piano manufacturers in Paris during Chopin's lifetime were Érard and Pleyel. Chopin preferred Pleyel's instruments, praising what he heard as a more compelling…

by Nicholas Phillips, Geoffrey Burleson, David Hyun-su Kim, Tami Morse, Sezi Seskir, Thomas Swenson, Andrew Willis

Spring 2019; Vol. 11, No. 2

Spring 2019: New Music Reviews

(S1-3) Imaginations Books 1 and 2, by Kevin Olson. Kevin Olson has a knack for creating fresh and original sounds at every teaching level. While incorporating…

by Suzanne Schons, Carmen Doubrava, Ann DuHamel, Sara Ernst, Meg Gray, Adrienne E. Wiley

Spring 2019; Vol. 11, No. 2

Spring 2019: Editor’s Page

Performance Practice I began subscribing to Clavier within the first month of my undergraduate studies; it was required reading in my studio, but it became essential reading as I…

by Pamela Pike

Spring 2019; Vol. 11, No. 2

Spring 2019: Poetry Corner

Mouse II Today I'm a mouseminute enoughto patter along the pedalsinto the pianoThe smell of this feltyou must realizeis something divineassailing our nosesover a distance of…

by Richard Zimdars

Spring 2019; Vol. 11, No. 2

A Partnership in Music and Life

An Interview with Angela Cheng and Alvin Chow The National Conference on Keyboard Pedagogy is thrilled to welcome Angela Cheng and Alvin Chow as the 2019 NCKP…

by Andrea McAlister

Spring 2019; Vol. 11, No. 2

Technology Review: Slack — A Time-Saving App for Collaborative Projects

Music teachers who collaborate with other equally busy musicians, must find creative ways around full schedules and unusual working hours. Email, text message, and social media platforms…

by Sara Ernst

Spring 2019; Vol. 11, No. 2

Spring 2019: Book Review

The Contemporary Piano: A Performer and Composer's Guide to Techniques and Resources, by Alan Shockley. The introduction to Alan Shockley's The Contemporary Piano: A Performer and…

by Ann DuHamel

Spring 2019; Vol. 11, No. 2

Recovering from Focal Dystonia

2018 marked my twenty-fifth year of living with focal dystonia in my right hand. During this time not only have I learned much about this condition,…

by James Litzelman

Spring 2019; Vol. 11, No. 2

Dystonia: Thoughts and Attitudes

When a doctor diagnosed me with focal dystonia in 1996, it was as if a line suddenly divided my life between "before dystonia" and "after dystonia."…

by Charles Turon

Spring 2019; Vol. 11, No. 2

Dean Elder: Forever Missed, But Never Forgotten!

On December 3, 2018, the piano world lost a true icon of the profession, Dean Elder. His life ended, but his brilliance lives on in the…

by Ingrid Jacobson Clarfield

Spring 2019; Vol. 11, No. 2

Spring 2019: Pupil Saver: Muzio Yankee van Doodle?

What do you get when you combine an American folk tune with eighteenth century quintessential Classical style? "Yankee Doodle arranged as a Rondo" by American composer…

by Suzanne Schons

Spring 2019; Vol. 11, No. 2

Bringing Performance Experience with a Period Piano to a Modern One

If Mozart had had a modern concert grand piano, would he have composed the same music? Absolutely not! No doubt, he would have been strongly influenced…

by Ratko Delorko

Summer 2019; Vol. 11, No. 3

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Summer 2019; Vol. 11, No. 3

NCKP 2019 Pedx9 Preview: Teaching Music in Lebanon Part II

I've always been nervous in hospitals. When encountering suffering, I'm overly quick with jokes that distract from the looming uncertainties of the sick ward. So, when…

by Jeremy Siskind

Summer 2019; Vol. 11, No. 3

Narrativity of Histoires by Jacques Ibert

Jacques François Antoine Marie Ibert was born with the fire of Spanish blood in his veins and claimed Manuel de Falla, the famed Spanish composer, as…

by Shalvi D'Arcangelo

Summer 2019; Vol. 11, No. 3

“Hidden Figures” in Piano Pedagogy: Leveling Piano Music by Black Composers

A Call for Representation In 2016, the movie, Hidden Figures, based on the novel by Margot Lee Shetterly, put a spotlight on African American female mathematicians…

by Leah Claiborne

Summer 2019; Vol. 11, No. 3

Teaching Repertoire to Special Learners: Practical Solutions

Choosing repertoire for our students is often a matter of subjectivity. A desired scenario is one in which a student and teacher both agree on the…

by Beth Bauer

Summer 2019; Vol. 11, No. 3

Change It Up!: Interleaved Practice–What It Is, Why It Works

What is Interleaved Practice? Repetition is the most time-honored method of learning anything new, be it basketball, math, or piano. Practice! And practice some more. But…

by Barbara Fast

Summer 2019; Vol. 11, No. 3

2019 NCKP Preconference Highlights

NCKP has eleven subcommittees, comprised of leaders in each of the following subcommittee areas: collaborative performance, collegiate pedagogy teaching, creative music making, inclusive teaching, independent music…

by Diana Dumlavwalla, Ivan Hurd, Jeremy Siskind, Melissa Martiros, Arlene Steffen, Linda M. Fields, Kellie Cunningham, Jackie Edwards-Henry, George Litterst, Carol Leone

Summer 2019; Vol. 11, No. 3

An Interview with Jane Magrath and E. L. Lancaster

At the 2019 National Conference on Keyboard Pedagogy, Jane Magrath and E. L. Lancaster will receive the NCKP Lifetime Achievement Award. Magrath grew up in South…

by Pamela Pike

Summer 2019; Vol. 11, No. 3

Summer 2019: Keyboard Kids

To print or save, use the PDF below. Hover your cursor over the document and a black bar should appear with print and download icons. Download…

by Helen Smith Tarchalski

Summer 2019; Vol. 11, No. 3

What I’ve Learned from 150 Podcast Episodes… and Counting

"...as I was teaching, if I could find a song that the student brought to me or that the student was interested in, I always felt…

by Tim Topham

Summer 2019; Vol. 11, No. 3

NCKP 2019 PEDx9 Preview: Crossing the Divide: Latitude 49 and the Evolution of Chamber Music

Blending the finesse of a classical ensemble with the drive and precision of a rock band, members of Latitude 49 come together from across the United States and…

by Jani Parsons

Summer 2019; Vol. 11, No. 3

NCKP 2019 Pedx9 Preview: Public Music Theory Behind Bars

In spring 2016, I saw a news report on a Columbia, South Carolina television affiliate describing a music program at Lee Correctional Facility, a maximum-security prison…

by J. Daniel Jenkins

Summer 2019; Vol. 11, No. 3

NCKP 2019 Pedx9 Preview: Teaching Music in Lebanon Part I

As a young musician growing up in Greenville, SC, I never thought I would utter the phrase, "I'm going to the Middle East to teach piano!"…

by Scott Donald

Summer 2019; Vol. 11, No. 3

Summer 2019: Questions and Answers

Q: What can you tell us about the National Conference on Keyboard Pedagogy coming up this summer? A: The National Conference on Keyboard Pedagogy will meet…

by Samuel S. Holland

Summer 2019; Vol. 11, No. 3

Summer 2019: Recordings

D'Albert was a prized student of Liszt and his piano transcriptions of Bach's organ works bear the influence of his master. Unlike some transcribers, who sought…

by Nicholas Phillips, Geoffrey Burleson, Wei Chen (Bruce) Lin, Choong-Ha Nam, Stephen Pierce, Thomas Swenson

Summer 2019; Vol. 11, No. 3

Summer 2019: New Music and Materials

(S2) Bastien New Traditions All In One Piano Course, 2B, 3A, 3B, by Lisa, Lori, and Jane Bastien. In a grand family tradition, these materials continue…

by Suzanne Schons, Carmen Doubrava, Meg Gray, Adrienne E. Wiley

Summer 2019; Vol. 11, No. 3

Summer 2019: Book Reviews

Review by Ann DuHamel Debussy's Paris: Piano Portraits of the Belle Époque, by Catherine Kautsky. The first time I heard Professor Catherine Kautsky speak at a…

by Suzanne Schons, Ann DuHamel, Julie Welsh Miller

Summer 2019; Vol. 11, No. 3

Creativity in the Age of Artificial Intelligence

A 2018 McKinsey report exploring the impact of artificial intelligence (AI) on the future of work predicts that 50 million jobs in the United States will…

by Samuel S. Holland

Summer 2019; Vol. 11, No. 3

What My Adult Students Have Taught Me

Be Willing to Change Your Idea of Success "Don't worry. I know my playing jerks along. I probably won't get much better, but that's OK. I…

by Barbara Kreader Skalinder

Summer 2019; Vol. 11, No. 3

Brain and Learning Myth Busters!

Good teachers want to help students learn as efficiently and effectively as they can. Unfortunately, misconceptions about the brain and learning are rife in education (not…

by Suzanne Schons

Summer 2019; Vol. 11, No. 3

Summer 2019: Pupil Saver: Dramatic Chords and Incomparable Views

Rebecca is in her senior year of high school. She is a lovely person who is a talented artist and is also a good pianist. Rebecca…

by Adrienne E. Wiley

Summer 2019; Vol. 11, No. 3

Illuminations of the Past, Innovations of the Future: Piano Playing and Building in the Twenty-first Century

The advent and popularization of historical performance practice in recent years has led to some wonderful innovations in piano performance. In many circles, Mozart’s original and…

by Asher Armstrong

Summer 2019; Vol. 11, No. 3

The Power of Piano Ensembles: Building Collaboration, Musicianship, and Community

I was raised in Caracas, Venezuela, a prominent musical center in Latin America, and I enjoyed seeing how music activities were common in the daily life…

by Laura Silva

September 2016; Vol. 8, No. 5

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September 2016; Vol. 8, No. 5

A Life Among Legends: an impresario looks back, part II

Many of the biggest musicians of the twentieth century have worked with Jacques Leiser: Richter, Michelangeli, Berman, Arrau, Cziffra, and Callas, to name just a few.…

by Jane Magrath, Jacques Leiser

September 2016; Vol. 8, No. 5

Piano Maestro

Not too long ago (say, way back in the 1990s), if you wanted to learn to play the piano, you basically had two options: you could…

by Todd Van Kekerix

September 2016; Vol. 8, No. 5

Piano Marvel

OVERVIEW Price: • Free for level 1 materials. Premium account ($15/month or $99/year) provides full access to all levels. • Some repertoire must be purchased in…

by Michael Rushing

September 2016; Vol. 8, No. 5

Playground Sessions

by Kristin Cahill OVERVIEW: • PRICE AND OPTIONS: -$9.99/month (billed annually); includes $20 in song credits -$17.99 for a single month; includes one free song -$269.99…

by Kristin Cahill

September 2016; Vol. 8, No. 5

September 2016: Mind Matters: Retirement

Imagine this: for many years you and your students have created many personal memories and memorable musical moments. You have contributed to your profession and felt…

by Julie Jaffee Nagel

September 2016; Vol. 8, No. 5

Are you a workaholic? Seven ways piano teachers can fight this damaging behavior

Authors note: They say it "takes one to know one," and I humbly submit this as someone who struggles with working too much, simply because I…

by Wendy Stevens

September 2016; Vol. 8, No. 5

September/October 2016

by Clavier Companion

September 2017; Vol. 9, No. 5

In this issue

September 2017; Vol. 9, No. 5

September 2017: Apps for Teaching: Tools for Triggering Creativity with Pop Music

Why integrate popular or "non-classical" music into piano lessons? Retain students Integrating pop music into your curriculum can meet students "where they are." Encouraging them to…

by Leila Viss

September 2017; Vol. 9, No. 5

September 2017: Keyboard Kids

Antonín Dvořák Born: September 8, 1841, in Bohemia Died: May 1, 1904, in Czechoslovakia Fact: Dvořák made a living composing and teaching at the Prague Conservatory in Czechoslovakia. In…

by Helen Smith Tarchalski

September 2017; Vol. 9, No. 5

September/October 2017: Questions and Answers

QUESTION: I've read that Frances Clark often used classics, literature, and social sciences that don't seem related to piano teaching in her pedagogy classes. Would you…

by Samuel S. Holland

September 2017; Vol. 9, No. 5

Solution to the September/October Puzzle

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by Helen Smith Tarchalski

September 2017; Vol. 9, No. 5

September/October 2017: Recent Research

The rhythm of grammar Neuroscientists at Vanderbilt University Medical Center's Music Cognition Lab have identified a correlation between good rhythm skills and a strong grasp of…

by Piano Inspires

September 2017; Vol. 9, No. 5

September/October 2017: Poetry Corner

Music Lesson Play the notes Not as they are (Dots on the page In patterns, trailing Over neat bar lines) But as they are meant to…

by Alexander Kelly

September 2017; Vol. 9, No. 5

The Art of Practicing: I Really Should Be Practicing Well

I do apologize to Gary Graffman for filching his title as blatantly as I have, but let's face it—although the quality of one's practice may be just one…

by Bruce Berr

September 2017; Vol. 9, No. 5

In Memoriam: Edward Francis

Edward Francis, a beloved teacher, mentor, and friend, passed away on July 6, 2017, surrounded by family and friends. He was a tireless educator, teaching at several…

by Sean Chen

September 2017; Vol. 9, No. 5

Practicing Double-Thirds Scales

Why study double-thirds scales? Practicing double-thirds scales facilitates the performance of similar double-thirds passages encountered in the piano literature.1 Routinely practicing the double-thirds major scales readies the pianist for…

by Dan Lansdown

September 2017; Vol. 9, No. 5

Letter to the Editor: September/October 2017

Dear Editor, The Editor's Page ("Who will save the guitar?" July/August 2017) commented on the 10,000 hour rule of thumb. This has been rumbling around in…

by Pete Jutras

September 2017; Vol. 9, No. 5

Having Fun with Scales

Yeah, right! Is it really possible to have fun playing scales? For many students, practicing scales is a chore. In fact,it is a big chore and seems…

by Evelyn Lee

September 2017; Vol. 9, No. 5

September/October 2017: New Music Reviews

Happy Holidays! (S1-4) We Three Kings, We Wish You a Merry Christmas, and Deck the Hall Hoedown, arranged by Wendy Stevens. For teachers wanting some fun and…

by Susan Geffen, Suzanne Schons, Stephanie Bruning, Sara Ernst, Peggy Otwell, Artina McCain

September 2017; Vol. 9, No. 5

The Alexander Technique As A “Means Whereby”

In the summer 2015 issue, Clavier Companion published an article that was dedicated to the Feldenkrais method, and in a little box at the end of the article the…

by Petra Polman

September 2017; Vol. 9, No. 5

September/October 2017: CD Reviews

Outhere Music Ravel, Scriabin: MiroirsAndrew Tyson, pianoAlpha-Classica ALPHA 277[Total Time 58:39] www.outhere-music.com/en/albums/miroirs-alpha-277 Twenty-year-old Andrew Tyson is a native of Durham, North Carolina, and the rising star's…

by Steven Hall

September 2017; Vol. 9, No. 5

Developing Triad Chord Fluency

Like language students who have memorized vocabulary but are not yet conversant, pianists who have learned to construct chords may not yet be "chord fluent." So how…

by Bradley Sowash

September 2017; Vol. 9, No. 5

September 2017: Mind Matters: Stage Fright on My Mind

Stage fright is on my mind for various reasons. I have spent my entire life dealing with it since my first memory slip at age six, and…

by Julie Jaffee Nagel

September 2017; Vol. 9, No. 5

The Legacy of Leopold Wolfsohn

Leopold Wolfsohn. You may look at this name and wonder why it seems vaguely familiar. If you access Leopold Wolfsohn on Google, it will notify you in 0.27…

by Joseph Rezits

September 2017; Vol. 9, No. 5

Bumping into Brahms: A Conversation about the Intermezzo, Op. 118, No. 2

JM: Oh! Sorry sir, you startled me! I almost bumped into you. But wait, I know you! Are you not Herr Doktor Brahms? Brahms: Guten Tag? Bitte,…

by James Maclnnes

September 2017; Vol. 9, No. 5

September 2017 Pupil Saver: Jamaican Rumba by Arthur Benjamin

Once again, my high school student—who seems to be involved in every activity possible—needed a unique piece. I had in mind what I wanted: The piece needed to…

by Adrienne E. Wiley

September 2017; Vol. 9, No. 5

Gourmet Care and Feeding of the Pedals: Pedal Uses and Their Regulation

aIn my thirty-five years of touring, my relationship with piano technicians has always been a focal point. They are my partners in creating a memorable musical experience. In looking together at the hundreds of…

by Frederic Chiu

September 2017; Vol. 9, No. 5

Hélène Grimaud: Reflections in the Water

The January 2016 release of Hélène Grimaud's recording Water (Deutsche Gramophone) was landmark in many ways,perhaps most significantly as a memento of a concert that took place in…

by Scott McBride Smith

September 2017; Vol. 9, No. 5

Yoda Eats Mushroom Pizza

It's the last lesson before the recital. Garrett, age five, is playing "Graduation March," the final piece in Time to Begin from The Music Tree. The B section is…

by Pete Jutras

September 2017; Vol. 9, No. 5

Studios Are Not Just in Living Rooms Anymore

Sometimes the world brings people into your life who ignite your energy and restore your passion for teaching. Last February, on a sunny morning in Austin, Texas,…

by Barbara Kreader Skalinder

September 2017; Vol. 9, No. 5

Cliburn 2017

Every four years, piano fans gather in Fort Worth, Texas, for one of the piano world's biggest parties: the Van Cliburn International Piano Competition. At this year's…

by Susan Geffen

September 2017; Vol. 9, No. 5

DIGITAL-ONLY CONTENT: 20 Reasons Students Don’t Practice, Part Two

Bonnie Blanchard set out to discover the reasons students don't practice in the last article. Here are some of her remedies!

by Bonnie Blanchard

September 2017; Vol. 9, No. 5

DIGITAL-ONLY CONTENT: 20 Reasons Students Don’t Practice, Part One

Here are the reasons.Click at the bottom of the page for Bonnie's superb ideas for engaging students! They didn't sign up to practice. They don't think you…

by Bonnie Blanchard

September 2017; Vol. 9, No. 5

Recording Beethoven’s Piano Sonatas in the 21st Century: An Interview with Steinway Pianist James Brawn

Interviewed by Andrew Schartmann The great pianist and conductor Hans von Bülow once called Beethoven's 32 piano sonatas the New Testament of music. This bold declaration…

by Andrew Schartmann, Piano Inspires

September 2010; Vol. 2, No. 5

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September 2010; Vol. 2, No. 5

view flipbook Page 6: Editor's Page Style is substance Pete Jutras Page 8: Variations Owen is my first grandstudent Barbara Kreader Page 12: Musings Listening and…

by Pete Jutras, Barbara Kreader Skalinder, Jane Magrath, Kathleen Riley, John Chong, Dolores Fredrickson, Lois Emery Nielson, Marilyn Rosfeld, Phillip Keveren, Craig Sale, Linda Stutzenberger, Rebecca Johnson, Kim Bakkum, Sheila Vail, Helen Smith Tarchalski, Warren Magid, Bomi Lim, Scott McBride Smith, Dominic Meiman, Frances Clark

November 2014; Vol. 6, No. 6

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November 2014; Vol. 6, No. 6

Making Money, Making Space

I am excited to be bringing you the first in a series of columns devoted to the business of piano teaching! Whether you are new to…

by Wendy Stevens

November 2014; Vol. 6, No. 6

Behave Yourself at the Keyboard!

Gustav Mahler used to shock his audiences by leaping high into the air while conducting his orchestra, and pianist Vladimir DePachmann would interrupt a recital with…

by Jim Edwards

November 2014; Vol. 6, No. 6

Comping 101 – Accompanying Students

Accompanying students is an enjoyable way to transfer musicality from veteran to rookie efficiently without so much "teacher talk." For students, it • tightens up their…

by Bradley Sowash

November 2014; Vol. 6, No. 6

New music: A journey to a“slightly different place”

It wasn't so long ago that many musicians feared the piano was losing its way in serious music. The repertoire had not grown significantly in the…

by Michael Johnson

November 2014; Vol. 6, No. 6

November 2014: Pupil Saver: Tango!

The intoxicating South American rhythms of Kevin Olson's alluring solo, Tango Argentino (FJH), transport the listener to sunny climes. This piece is loaded with technical variety…

by Carmen Doubrava

November 2014; Vol. 6, No. 6

2014 Clavier Companion Collegiate Writing Contest: A closer look at strategies for memorization

In the Spring of 2014, Clavier Companion sponsored its seventh annual Collegiate Writing Contest, inviting college students from around the world to submit 1,500 word essays…

by Wen Ling Chua

November 2014; Vol. 6, No. 6

Catching up with Vadym Kholodenko

What did winning the Van Cliburn competition mean to you? I'd like to experience it a second time. There's such enormous pressure on all of the competitors.…

by Nick Romeo

November 2014; Vol. 6, No. 6

Hélène Grimaud: We all do music in our own way

Hélène Grimaud, long recognized for her compelling musical personality, is a multi-dimensional artist who brings a strong sense of individuality and innovation to her performances. Grimaud's…

by Leonne Lewis

November 2014; Vol. 6, No. 6

The Future of Piano Teaching: Changes and Constants

Mixed signals. We live in a time of unprecedented change. This thought is one that is expressed frequently these days—you may even find it to be…

by Pete Jutras

November 2014; Vol. 6, No. 6

What are your thoughts on the future of piano teaching?

What's next for our profession? Clavier Companion asked twelve pedagogues from around the country to contribute their thoughts on the future of piano teaching. In…

by Pete Jutras, Mario Ajero, Linda Christensen, Alejandro Cremaschi, Jennifer Foxx, Andrea McAlister, Jennifer Snow, Wendy Stevens, Kathleen Thiesen, Leila Viss, Kristin Yost

November 2014; Vol. 6, No. 6

Dyslexia: When Keyboard Students can’t read

In the world of classical music, proficient sight-reading is an absolute, non-negotiable necessity, and any musician who exhibits reading deficiencies is considered damaged goods. As a…

by Lynn Godfriaux Maloy

November 2014; Vol. 6, No. 6

November 2014: Mind Matters: Perspectives

I am delighted to inaugurate this regular column. As both a musician and a psychologist/psychoanalyst, I have dealt with many varied and complex issues that music performers…

by Julie Jaffee Nagel

November 2016; Vol. 8, No. 6

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November 2016; Vol. 8, No. 6

2016 Clavier Companion Collegiate Writing Contest Winner: Finding musical expression through photography and film

In the Spring of 2016, Clavier Companion sponsored its eighth Collegiate Writing Contest, inviting college students from around the world to submit 1,500-word essays on a…

by Hilary McLaughlin

November 2016; Vol. 8, No. 6

What about that bass?

As piano teachers, we commonly show our students how composers divide pieces into three parts, such as in Sonata or Minuet and Trio forms. What is often…

by Deborah Rambo Sinn

November 2016; Vol. 8, No. 6

Roll over, Mozart: Creative improvisation and composition activities

The skill of improvisation is often looked upon as the realm of jazz musicians. Many classical musicians would not dream of "riffing" with Beethoven or Mozart…

by Jennifer Muniz

November 2016; Vol. 8, No. 6

November 2016: Winds of Change

While this column usually focuses on change as it transforms our profession and sometimes flusters its practitioners, I want to think about something that doesn't change:…

by Robert Weirich

November 2016; Vol. 8, No. 6

Rhythm Boxes, Part 1

When asked to teach a music course to undergraduate dance majors, I soon realized that decoding written rhythms does not come easily to non-musicians. For these students,…

by Bradley Sowash

November 2017; Vol. 9, No. 6

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November 2017; Vol. 9, No. 6

November/December 2017: Recent Research

Music with the mind Neuroscientists have created the world's first musical instrument which can be played using only thoughts. The hands-free device may help rehabilitate those…

by Piano Inspires

November 2017; Vol. 9, No. 6

Protecting Passwords in 21st-Century Style

Do you panic when prompted to enter a password? It's virtually an impossible task to remember every password you create as most websites now require you…

by Leila Viss

November 2017; Vol. 9, No. 6

Thank You

This Editor's column will be my last for Clavier Companion. After eleven years at the helm of this magazine and its predecessor, Keyboard Companion, I have decided to…

by Pete Jutras

November 2017; Vol. 9, No. 6

November/December 2017: New Music Reviews

(S3) From Sight to Sound: 6 Original PIano Solos, by Randall Hartsell. Randall Hartsell composed From Sight to Sound to express the "interconnectedness of nature and…

by Susan Geffen, Sara Ernst, Ernest Kramer, Suzanne Schons

November 2017; Vol. 9, No. 6

On Boating and the Pleasures of Ear Training

Yes. You read right. I bet you never thought you'd see the words "pleasure" and "ear training" mentioned in the same sentence. Pleasure and boats seem…

by Peter Jancewicz

November 2017; Vol. 9, No. 6

November/December 2017: CD & DVD Reviews

CurrentsMichael Mizrahi, pianoNew Amsterdam Records NWAM075[Total Time 60:01]www.discogs.com Whether you are an avid fan of contemporary music, a casual listener looking for something off the beaten…

by Steven Hall

November 2017; Vol. 9, No. 6

November 2017: Mind Matters: Thinking about Thinking

What do you think about when you think about performing? Take a few minutes before reading further and make a short list. Below, I have listed some frequent…

by Julie Jaffee Nagel

November 2017; Vol. 9, No. 6

November/December 2017: Questions & Answers

Q: This is the time of year when high school students are considering college and preparing for auditions. As a music administrator, do you have any…

by Samuel S. Holland

November 2017; Vol. 9, No. 6

November 2017 Making Money Making Space: Creating Space to Move from Good to Great

One of the wonderful realities and paradoxes about being a piano teacher in 2017 is that a good idea is only one click away. The proliferation…

by Wendy Stevens

November 2017; Vol. 9, No. 6

November 2017: Keyboard Kids

Meet the Composers: Ludwig van Beethoven Ludwig van Beethoven was born in Bonn, Germany, on December 6, 1770. His family background was Dutch; the name Beethoven means…

by Helen Smith Tarchalski

November 2017; Vol. 9, No. 6

Perspectives: Why I Love Teaching Learning-Challenged Children

As a piano teacher, I love working with students who catch on to new concepts quickly, who are respectful and obedient, who are able to give…

by Nancy Wyatt Jensen

November 2017; Vol. 9, No. 6

November 2017: Pupil Saver: Set Your Alarm

Students are sure to make time for Kevin Olson's energetic early-intermediate piece Time's Up! (FJH). The imaginative use of changing meters and brisk tempo give this piece a…

by Carmen Doubrava

November 2017; Vol. 9, No. 6

Moving from Sonatina to Sonata: Bridging the Gap with Johann Wilhelm Hässler

Progressing from late-intermediate level sonatinas by Clementi and Kuhlau to early-advanced level sonatas by Mozart and Haydn can be a challenge for students. The piano repertoire…

by Hyorim Lee

November 2017; Vol. 9, No. 6

A Legacy of Excellence: An Interview with John and Nancy Weems

Through their teaching, John and Nancy Weems have instilled in their students a love for music and a commitment to artistic pianism. In addition to a long-standing…

by Steve Betts

November 2017; Vol. 9, No. 6

Coping with Cross-Rhythms

One of the most frequent problems I have encountered with students in my teaching, examining, and adjudicating is their approach to cross-rhythms. Yet, a lack of confidence—even…

by Trevor Barnard

November 2017; Vol. 9, No. 6

Piano Method Review: Tales of A Musical Journey

Tales of a Musical Journey, by Irina Gorin with assistance from Olga Lukantsov, is presented in the form of two chapter books for young children ages four…

by Rebecca Grooms Johnson

November 2017; Vol. 9, No. 6

Unifying Techniques in Musical Compositions

Any musical composition may be analyzed from the perspective of attempting to reveal its various facets of unity and variety. A work may often prove to be satisfying to the listener…

by Lee Evans

November 2017; Vol. 9, No. 6

November 2017: Create and Motivate: Developing Seventh-Chord Fluency

The ability to recognize and play chords without hesitation benefits all pianists. For improvisers, chord fluency enables practical skills such as learning tunes by ear, transforming lead…

by Bradley Sowash

November 2017; Vol. 9, No. 6

News & Notes Nov/Dec 2017: Falling Pianos and Extreme Minimalism

Falling pianos At the Massachusetts Institute of Technology, the annual "Piano Drop" has been a celebrated event for more than forty years. According to Steve Annear of The…

by Piano Inspires

November 2017; Vol. 9, No. 6

November/December 2017: Poetry Corner

Beethoven: Sonata No. 14 for Roma You were at the piano playing the "Moonlight," A name Rellstab gave it when he heard The Adagio, and remembered…

by Gregory Djankikian

November 2017; Vol. 9, No. 6

DIGITAL ONLY CONTENT: Speak out! Five-and-a-half minutes with composer, Christopher Norton

Deborah Rambo Sinn - Interviewer What kind of composer are you? I've been known as an educational composer since the 1980s, partly because I was a…

by Deborah Rambo Sinn, Piano Inspires

May 2018; Vol. 10, No. 3

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May 2018; Vol. 10, No. 3

May 2018: New Music Reviews

Festival Sonatina by Eugénie Rocherelle The Classical sonatina is such a pedagogical treasure, as it provides great material to study and perform—teachers can spur growth in artistry,…

by Susan Geffen, Sara Ernst

May 2018; Vol. 10, No. 3

May 2018: Recordings

DebussySteven Osborne, pianoHyperion CDA68161[Total Time 73:21]hyperion-records. co.uk Debussy Steven Osborne, piano Hyperion CDA68161 [Total Time 73:21] hyperion-records. co.uk Eleven years after the release of his recording…

by Steven Hall, Wei Chen (Bruce) Lin, Stephen Pierce, Nicholas Phillips

May 2018; Vol. 10, No. 3

May 2018: First Looks: Apps for Teaching

A closer look at SuperScore A unique liquid display? Embedded performances? Interactive features for learning and performing? An amazing library of scores? Is it possible that…

by Leila Viss

May 2018; Vol. 10, No. 3

May 2018: Questions and Answers

Q: Is it OK for a student to continue study if they don't practice? I have a student who reads well and enjoys her lessons, but…

by Samuel S. Holland

May 2018; Vol. 10, No. 3

DIGITAL-ONLY CONTENT: Online Teaching: How I Work With My Students in Saudi Arabia

When I moved back to the United States after living in Saudi Arabia for fifteen years, I went from a full teaching studio of over 50…

by Sarah Lyngra

May 2018; Vol. 10, No. 3

DIGITAL ONLY CONTENT: Speak Out! Five-and-a-Half Minutes With Composer, Pianist, Teacher, and Editor, Keith Porter-Snell

Keith, this column is generally reserved for composers, but you are much more than this as a pianist, composer, teacher, and editor. Which hat do you…

by Deborah Rambo Sinn

May 2018; Vol. 10, No. 3

May 2018: Keyboard Kids

To print or save, use the PDF below. Hover your cursor over the document and a black bar should appear with print and download icons. Keyboard-Kids-MayJune-2018Download

by Helen Smith Tarchalski

May 2018; Vol. 10, No. 3

100 Days of Practice?

Our student, Maria Willertz, recently stood on the stage of Steinway Hall in Cincinnati proudly displaying her certificate for having practiced 100 days in a row,…

by John Carpenter

May 2018; Vol. 10, No. 3

Digital-Only: Piano Palooza in Cleveland!

Over 50 young musicians had a fun-filled time at Piano Palooza, a carnival of music games for elementary-level piano students ages 12 and under. Participants visited…

by Piano Inspires

May 2018; Vol. 10, No. 3

Fostering Collaboration: Elementary and Intermediate Works for Pianist and Narrator

By default, being a pianist can feel like a lonely musical pursuit. Students frequently take private lessons, practice alone, perform solo repertoire, and only occasionally play…

by Autumn Zander

May 2018; Vol. 10, No. 3

May 2018: Pupil Saver

Got a Pupil Saver? We love to hear from you. If you are interested in submitting your Pupil Saver for consideration, please contact Susan Geffen at…

by Adrienne E. Wiley

May 2018; Vol. 10, No. 3

Digital-Only Content: Dartington Hall Celebrates 70 Years!

Dartington Hall is a creative institution and historical meeting ground for those hungry to explore a new musical landscape, renowned for its compelling and diverse community…

by Piano Inspires

May 2018; Vol. 10, No. 3

My Hardest Lesson Ever

Ah, music," he said, wiping his eyes. "A magic beyond all we do here!by J. K. Rowling, Harry Potter and the Sorcerer's Stone We music teachers teach with our…

by Eric Street

May 2018; Vol. 10, No. 3

DIGITAL-ONLY CONTENT: The Harmony Program celebrates 10 years of service to New York City.

Celebrating the success of its students and the vital role music plays in shaping communities in the New York City metro area: This year marks the…

by Piano Inspires

May 2018; Vol. 10, No. 3

How to Become an Indispensable Piano Teacher

In a world where parents are constantly reevaluatiing the cost of a recurring service, job security may depend in part upon how indispensable we are to our…

by Wendy Stevens

May 2018; Vol. 10, No. 3

Bringing it Home

For a pianist without high-level management, organizing a tour can feel like an impossible undertaking. There are many reasons why touring is harder than ever before:…

by Jeremy Siskind

May 2018; Vol. 10, No. 3

May 2018: Perspectives

Change When you think of the word "change," what comes to your mind? Without trying to think too hard, or second guess if I am after something…

by Julie Jaffee Nagel

May 2018; Vol. 10, No. 3

Remembering Jane Bastien

Editor's note: These are longer versions of the articles from the May/June 2018 print version of Clavier Companion. Becoming Friends with Jane by Keith Porter-Snell I met Jane…

by Keith Porter-Snell, Henry Doskey

May 2018; Vol. 10, No. 3

May 2018: Closer Look

An invitation to the piano party SE3-4) Lang Lang Academy: The Lang Lang Piano Method, Levels 1-5, by Lang Lang. No one could ever rightfully accuse Lang…

by Susan Geffen

May 2018; Vol. 10, No. 3

Go Green (Screen) and Bring the Music to Life!

Imagine your student performing inside the Sydney Opera House, at the top of Mount Fuji, or even on the rings of Saturn. Seem impossible? It's not! Using green…

by Chris Madden

May 2018; Vol. 10, No. 3

May 2018: Editor’s Column

The balance of things Our topic this month, "Consider this: Inclusion, Ideas, and Innovations," invites you to explore this expanding universe of piano pedagogy. For some…

by Deborah Rambo Sinn

May 2018; Vol. 10, No. 3

May 2018: Variations

Rediscovering the joy of music 1950. Rediscovering the Joy of Music Lincoln, Nebraska. I am four years old, living with my parents in a new GI-Bill…

by Barbara Kreader Skalinder

May 2018; Vol. 10, No. 3

May 2018: Preludes

Musical News and Notes News from Clavier Companion! Starting with the September/October 2018 issue, Clavier Companion will feature a number of new and expanded columns—improvisational arts,…

by Piano Inspires

May 2018; Vol. 10, No. 3

Inclusion: Part 1, Bringing music-making to everyone

If there is one thing that music can do, it can bridge all divides. It does not recognize age or gender, race or social class. Music…

by Scott Price

May 2018; Vol. 10, No. 3

Inclusion: Part 2, The MusicLink connection

MusicLink begins with a simple idea: link an eager disadvantaged student with a professional teacher who provides lessons for little or no cost for as long…

by Joanne Haroutounian

May 2018; Vol. 10, No. 3

Inclusion: Part 3, The Celebrating the Spectrum Piano Festival at Michigan State

The Celebrating the Spectrum Piano Festival at Michigan State University was a first-of-its-kind summer piano festival that first occurred from July 24-31, 2016. This festival immersed…

by Derek Kealii Polischuk

May 2018; Vol. 10, No. 3

Inclusion: Part 4, Music knows no walls

The words above the entrance doors in the Camille Griffin Graham Correctional Institution of Columbia, South Carolina, read, "Living a life that matters doesn't happen by…

by Anna Hamilton

May 2018; Vol. 10, No. 3

The Repertoire-Rich Challenge: Three Stories to Inspire You

The more you learn, the more you know: Adopting a repertoire-rich attitude in your studio For a couple of hundred years now, piano teachers (and their piano students…

by Elissa Milne, Benjamin Steinhardt, Lizbeth Atkinson

May 2018; Vol. 10, No. 3

May 2018: Create and Motivate

Combining scales and chords Here are three exercises that benefit all musicians regardless of their preferred style or approach to making music: Scales Chord drills Scales and chords…

by Bradley Sowash

May 2018; Vol. 10, No. 3

Celebrating our Colleague, Bruce Berr

We are blessed in our profession to have opportunities to interact with the best in our field—the best teachers, colleagues, friends. Such has been the case…

by Rebecca Johnson, Craig Sale, Vicki Diefenbacher, Pete Jutras, Susan Osborn, Barbara Kreader Skalinder, Piano Inspires

November 2009; Vol. 1, No. 6

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November 2009; Vol. 1, No. 6

view flipbook Page 6: Editor's Page Could we use a good laugh? Pete Jutras Page 8: Winds of Change Robert Weirich Page 10: Development Discovering the…

by Pete Jutras, Robert Weirich, Elizabeth Borowsky, Craig Sale, Soyeon Lee, Bradley Sowash, Rebecca Johnson, Katherine Fisher, Jeremy Hanson, Nancy Bachus, Sonnet Johnson, Joseph Banowetz, Michelle Conda, Amy Greer, Bruce Berr, Erin Creighton, Arthur House, George Litterst, Mario Ajero, Scott Dirkse

November 2010; Vol. 2, No. 6

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In this issue

November 2010; Vol. 2, No. 6

view flipbook Page 6: Editor's Page Vision of the future Pete Jutras Page 8: Winds of Change Robert Weirich Page 10: Development Finding a niche in…

by Pete Jutras, Robert Weirich, Laura Amoriello, Paul Badura-Skoda, Leonne Lewis, Martin Hughes, Elisabeth Leonskaja, Jim Edwards, Geoff Haydon, Rebecca Johnson, Lynn Singleton, Amy Rose Immerman, Nancy Bachus, Ondine Webb De Mer, Bruce Berr, Anne Marie Olson, Nagel, Louis, Michelle Conda, Thomas Swenson, George Litterst, Christine Hermanson, Jeremiah A. Johnson, Frances Clark

September 2014; Vol. 6, No. 5

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September 2014; Vol. 6, No. 5

The Professional Contributions of Louise Goss

The professional contributions of eminent American piano pedagogue Louise Goss are countless. Her tireless efforts, along with those of Frances Clark, include the establishment of arguably…

by Jain, Judith

September 2014; Vol. 6, No. 5

Louise Goss: In Memoriam

In April, the world of piano pedagogy lost a legend. In the following pages, friends and colleagues of Louise Goss pay tribute with remembrances and recollections. …

by Samuel S. Holland

September 2014; Vol. 6, No. 5

Teaching Tips from Louise Goss

Louise Goss was a superb clinician and speaker. She had great clarity in her thinking about musical learning and an extraordinary vocabulary, but the quality that…

by Samuel S. Holland

September 2014; Vol. 6, No. 5

Lesson Planning: A Teaching Essential?

Road maps and detours by Craig Sale One of my worst nightmares is arriving at the school where I teach to realize I have left that…

by Arlene Steffen, Craig Sale

September 2014; Vol. 6, No. 5

Dot spots

Add improvised pizzazz to the easy rhythms found in beginner tunes by asking your students to identify "dot spots." These are places where students can substitute…

by Bradley Sowash

September 2014; Vol. 6, No. 5

Prelude Sets for Every Occasion

I first encountered the fascinating "prelude set" genre, like a great majority of pianists, through Chopin's 24 Preludes, Op. 28. After thoroughly exploring and enjoying the…

by Matthew Roy

September 2014; Vol. 6, No. 5

What a Find!

My mother, who is also a piano teacher, enjoys finding and buying piano music for me —even to this day—and she usually finds really great stuff…

by Adrienne E. Wiley

September 2014; Vol. 6, No. 5

Choosing a Master’s Degree Program in Piano Pedagogy

Richard Chronister founded the first National Association of Schools of Music approved degree program in piano pedagogy at the University of Tulsa in 1959. I recall…

by Angela Meyers

September 2014; Vol. 6, No. 5

Preparing an Audition Program

As the conservatory audition season cycles in once again —as predictable as the ice and snow that always accompanies it in my neck of the woods—it…

by Catherine Kautsky

September 2014; Vol. 6, No. 5

September 2014: Questions and Answers

Q: Recently I've noticed that creativity as a theme for conferences and workshops seems to be coming up more and more. What are your thoughts on creativity…

by Samuel S. Holland

September 2014; Vol. 6, No. 5

I have a student who…

I have a student who graduated from my studio this year. Leah began study with me as a curly-haired, precocious five-year old. Today she is a…

by Barbara Kreader Skalinder

November 2013; Vol. 5, No. 6

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November 2013; Vol. 5, No. 6

November 2013: Questions and Answers

Q: Recently I've seen the term "Teaching Artist" appear in stories on education and the arts in my hometown newspaper. What is a Teaching Artist? Is…

by Samuel S. Holland

November 2013; Vol. 5, No. 6

November 2013: Winds of Change

I've found myself thinking a lot about competitions lately. One of my first pieces for Clavier, even before I started a regular column, dealt with "The…

by Robert Weirich

November 2013; Vol. 5, No. 6

Simply Genius: An interview with Evgeny Kissin

Kissin, performing in Moscow, 1984. At the age of eleven months, Evgeny Kissin was singing the theme from a Bach fugue that his sister, Alla, was…

by Elyse Mach

November 2013; Vol. 5, No. 6

Clavier Companion Teacher Profile: Madame Olga Samaroff

Madame Olga Samaroff left an indelible mark on the world of music and every one of her students. In the 1930s, she launched the careers of Eugene…

by Nancy Bachus

November 2013; Vol. 5, No. 6

Samaroff Student: Eugene List (1918-1985)

At age ten, Eugene List played the Beethoven Third Piano Concerto in his first public concert, performing it one year later with the Los Angeles Philharmonic.…

by Nancy Bachus

November 2013; Vol. 5, No. 6

Samaroff Student: Maurice Hinson

How were you able to study with Madame Samaroff? I grew up in a musical family, playing tunes by ear. I took the Sherwood Music School…

by Nancy Bachus

November 2013; Vol. 5, No. 6

Teaching Two-Octave Scales

I'm coming up on my fiftieth anniversary of teaching, and I've learned some painful lessons. Here's one: playing two-octave scales isn't twice as hard as playing scales…

by Scott McBride Smith

November 2013; Vol. 5, No. 6

Purposeful Transcription and Music Analysis

As a high school student, my piano teacher assigned me the task of hand-copying a portion of Clementi's Sonata in B-flat Major. The task, given in…

by Kristina Garvelink

November 2013; Vol. 5, No. 6

Steps to Learning a Lead Sheet

Lead sheets are a simplified form of music notation designed to present the essentials of a tune, while still leaving room for creative interpretation. Lead sheets…

by Bradley Sowash

November 2013; Vol. 5, No. 6

Repertoire: Grieg “Sailor’s Song”

I didn't begin my piano studies until I was eleven. As a result, I can recall my first reactions to every piece I studied—yes, every piece!…

by Joseph Smith

November 2013; Vol. 5, No. 6

Breakin’ it down:The art of modifying orchestralreductions at the piano

Many college and pre-college level pianists have not experienced the complexities of working with orchestral reductions.This is an essential skill for pianists to cultivate, since singers…

by Ron Petti

November 2013; Vol. 5, No. 6

Practice Techniques For Expressive Performances

Mary Leaf's Fantasy in A Minor (FJH) is a successful Pupil Saver in my studio. This romantic- style intermediate piece is popular with students because it…

by Nan Baker Richerson

November 2013; Vol. 5, No. 6

Arrangements for Your Holiday Season

All jazz/pop musicians are expected to have a repertoire of tunes. It's commonly referred to as the "Standard Jazz" repertoire and its content is broad and…

by Geoffrey Haydon

November 2013; Vol. 5, No. 6

The Science of Artistry (The Fourth String)

The Blüthner waits on the stage. The top three octaves of the piano include a fourth string for each tone, strings which are never struck directly,…

by Diane Baxter

November 2013; Vol. 5, No. 6

The Mentoring Dance

What does the word "mentor" mean to you? Perhaps you believe your college piano teacher is your mentor because you value and trust his opinions musically…

by Naoko Takao

November 2013; Vol. 5, No. 6

Winning Essay for 2013 Collegiate Writing Contest: Learning Away from the Piano à la Gieseking

2013 Winning Essay Clavier Companion Collegiate Writing Contest In the Spring of 2013, Clavier Companion sponsored its sixth annual Collegiate Writing Contest, inviting college students from around…

by Larisa Soboleva

November 2018; Vol. 10, No. 6

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November 2018; Vol. 10, No. 6

November 2018: Keyboard Kids

To print or save, use the PDF below. Hover your cursor over the document and a black bar should appear with print and download icons. NovDec2018-Keyboard-KidsDownload

by Helen Smith Tarchalski

November 2018; Vol. 10, No. 6

Libib Cataloging Service: Online Tool for the Pianist and Teacher

Libib1 is a cloud cataloguing website and mobile app that helps to organize personal or small libraries of books, movies, music, or games. To use the service, one must create an account. Then,…

by Ana Paula Machado Simoes

November 2018; Vol. 10, No. 6

November 2018: Book Review

The Pianist's Guide to Standard Teaching and Performance Concertos: An Invaluable Resource of Keyboard Concertos from Baroque through Contemporary Periods for Teachers, Students, and Performers, by Karen Beres and Christopher Hahn. Review…

by Kate Boyd

November 2018; Vol. 10, No. 6

November 2018: Editor’s Page

Celebrating American Music In this issue, we celebrate American music by taking a closer look at two composers. One whose name and music is familiar throughout the world; the other remains…

by Pamela Pike

November 2018; Vol. 10, No. 6

November 2018: Closer Look: Visit the Menagerie

(S4) Truly Astounding Animals, by Peter Rudzik. Canadian composer Peter Rudzik's collection of twelve short piano solos for intermediate-to-advancing pianists takes us on a delightful, creative romp through the animal world. Reminiscent in spirit to Camille…

by Peggy Otwell

November 2018; Vol. 10, No. 6

November 2018: Piano News

The 2018 Leeds International Piano Competition winners were announced on September 15, 2018. In April 2018, auditions were held in Singapore, Berlin, and New York. From the preliminary round, twenty-four pianists performed…

by Pamela Pike

November 2018; Vol. 10, No. 6

November 2018: New Music Reviews

(S3-4) Big Phat Jazz Piano Solos: 10 Big Phat Band Classics, arranged by Gordon Goodwin. (S3-4) If you're not familiar with the name "Gordon Goodwin," you probably haven't played in a high school jazz…

by Susan Geffen, Sara Ernst, Jeremy Siskind, Suzanne Schons

November 2018; Vol. 10, No. 6

November 2018: Winds of Change

In the last two columns I have danced around acknowledging that I have retired from university teaching. Now it seems the right time to retire this column as well. There are…

by Robert Weirich

November 2018; Vol. 10, No. 6

November 2018: Recordings

Leif Ove Andsnes: Sibelius Leif Ove Andsnes, piano| Sony Classical 88985408502 [Total Time 67:00] sonyclassical.com In this recording of Jean Sibelius's little-known piano works, Andsnes, the tremendous pianist from…

by Nicholas Phillips, Laura Melton, Choong-Ha Nam, Stephen Pierce, Thomas Swenson

November 2018; Vol. 10, No. 6

This is What Diversity Sounds Like

In her book Hidden Figures (the basis for the 2016 movie of the same name), Margot Lee Shetterly observed, "The electrified fence of segregation and the centuries of…

by Linda Holzer

November 2018; Vol. 10, No. 6

November 2018: Questions & Answers

Q: If travel costs prohibit me from attending valuable conferences such as NCKP, what are other ways I can pursue professional development? A: It is true that by the time…

by Samuel S. Holland

November 2018; Vol. 10, No. 6

Celebrating Leonard Bernstein at 100: An Exploration of His Solo Piano Works

Bernstein's Musical Legacy As the Leonard Bernstein centennial draws to a close, it is an ideal time to consider the extraordinary career of one of the…

by Andrew Cooperstock

November 2018; Vol. 10, No. 6

To Play and to Study: The Thrill of Discovery

Learning is thrilling. As we feel our own potential expand, we seek to develop our capabilities even further. We feel excitement when a concept clicks into understanding. Our curiosity is…

by Sara Ernst

November 2018; Vol. 10, No. 6

2018 Clavier Companion Collegiate Writing Contest Winner: Between the Lines: Lasting Lessons from the Studio

During late Spring 2018, Clavier Companion held the eighth annual Collegiate Writing Contest. Collegiate students were invited to submit 1,500-word essays on a pedagogical topic of their choice. The…

by Jessica Welsh

November 2018; Vol. 10, No. 6

More Than Notes: Teaching Musicality Through Movement

What is musicality? Who has it and can it be taught? According to noted music educator and researcher Edwin Gordon, "Everyone has some level of music aptitude, is musical, and can…

by Hannah Creviston

November 2018; Vol. 10, No. 6

Adults on the Move with Dalcroze!

Say the word "Eurhythmics" to a group of age-forty-plus adults and they would likely define it as a pop music group from the 1980s. College students might even give the same response.…

by Jackie Edwards-Henry

November 2018; Vol. 10, No. 6

Preparing Students for Peak Performance Through Centering Practice

Healthy Playing, Healthy Teaching, Vanessa Cornett, Editor Many teachers are unsure of the best way to respond when a student first utters the words, "I feel nervous!" Young students experiencing…

by Lesley McAllister

November 2018; Vol. 10, No. 6

Revisiting Long-lost Gems: American Folktunes in Nineteenth-Century Piano Music

In the nineteenth century, classical music was in its infancy in the United States and uniquely American musical voices were few and far between. Although there were some notable exceptions—such…

by Anthony Olson

November 2018; Vol. 10, No. 6

November 2018: Pupil Saver

Rev It Up! David Karp's Toccatina in D Minor (FJH) is a high-energy intermediate piece that will rev up any student. Written almost entirely in the treble clef, the rapid sixteenth notes,…

by Carmen Doubrava

November 2018; Vol. 10, No. 6

Two Pianists in Time of War

War requires many adjustments by the populations of the countries involved, and musicians are not immune from these circumstances. The lives of two pianists, one who lived during World War…

by Richard Zimdars

November 2018; Vol. 10, No. 6

November 2018: Poetry Corner

Contributing Editor, Richard ZimdarsPoem by Howard Nemerov Lines & CircularitiesOn hearing Casals' recording of the Sixth Suite Deep in a time that cannot come againBach thought it…

by Richard Zimdars

September 2015; Vol. 7, No. 5

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September 2015; Vol. 7, No. 5

I Hope Tiffany Still Likes to Jump in the Mud

This issue's column features the writing of Tiffany Pon, piano student of my longtime friend and colleague, Mona Rejino. Mona teaches at the Hockaday School in…

by Barbara Kreader Skalinder

September 2015; Vol. 7, No. 5

Size is key

We expect so much in our lives to be tailor made to fit our individual sizes and needs. This morning, we got up, put on well-fitting clothes and shoes,…

by Carol Leone

September 2015; Vol. 7, No. 5

Mobile technology is the new normal

Editor's note: In the November/December 2014 issue, Clavier Companion launched a series of articles addressing the future of piano teaching. The following two articles are part…

by Leila Viss

September 2015; Vol. 7, No. 5

The future of piano teaching – gamification in teaching

PRESS PLAY Jane McGonigal, The Future of Piano Teaching author of Reality Is Broken: Why Games Make Us Better and How They Can Change the World…

by Linda Christensen

September 2015; Vol. 7, No. 5

Piano Pentathlon and Piano Hullabaloo: Celebrating the piano

Many music organizations host annual festivals for student pianists each year where students play in a master class atmosphere, are critiqued, and are given suggestions for…

by Susan See

September 2015; Vol. 7, No. 5

How often should I raise tuition?

In the last article, we discussed how to determine a reasonable tuition and make sure that your studio is profitable. Once you've determined this and set…

by Wendy Stevens

September 2015; Vol. 7, No. 5

To use, or not to use?

Peter Serkin uses it. So do Emmanuel Ax and Richard Goode. Sviatoslav Richter started using it. As a faculty member in 1980, Gilbert Kalish promoted a policy…

by Julie Jaffee Nagel

September 2015; Vol. 7, No. 5

Promoting interest in your class or studio

We all have heard a teacher exclaim, "I can't make my students do anything. They have to want to do it on their own." The teacher's belief…

by Theresa Chardos Camilli

September 2015; Vol. 7, No. 5

Beyond major and minor: A composer’s understanding of chords and scales

Major and minor. Together these form a basic polarity in Western music. Major scales and chords are usually characterized as "happy," while minor ones are saddled…

by Forrest Kinney

September 2015; Vol. 7, No. 5

Pencil Practice 101

Recognizing chord symbols is one of the biggest obstacles faced by beginning improvisers learning to play from lead sheets. Just as foreign language students write conjugations…

by Bradley Sowash

September 2015; Vol. 7, No. 5

Wael Farouk and the Rachmaninoff piano oeuvre

Wael Farouk was born with extremely short hand ligaments. He can't make a fist, open a jar, or button his shirt, but he can play…

by Laura Janota

September 2015; Vol. 7, No. 5

How do you avoid assigning repertoire that is too difficult too soon?

Each spring, I adjudicate festivals and write comments, review auditions for a summer program that I co-direct, and judge precollegiate competitions. Sitting with other pianists on these…

by Jerry Wong

September 2015; Vol. 7, No. 5

Impressionism for intermediates

Helen Boykin's 1947 impressionistic gem, Seafoam (Schirmer/Hal Leonard), has remained a student favorite for almost seventy years. I've taught this intermediate piece many times, but it…

by Carmen Doubrava

September 2015; Vol. 7, No. 5

Piano Talk

For quite some time, I've found myself noting the vocabulary we use to describe our peculiar life-enterprise as pianists. We steal from everywhere, and each theft seems…

by Catherine Kautsky