To celebrate the latest episode of the Piano Inspires Podcast featuring Dennis Alexander, we are sharing an excerpted transcript of his conversation with Jennifer Snow. Want to learn more about Alexander? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Alexander on Apple Podcasts, Spotify, YouTube, or our website!
Jennifer Snow: You work a lot with young people. One of the things I find so wonderful about your music [is] first beauty and [to] make the piano always sound so big and gorgeous. That beauty of sound [is] just so important, making beautiful sounds [and] expressing through sound. But also you make pieces that are from a sequential learning perspective very achievable. So as a young student, you can achieve. You sound like a pianist. Yes, you don’t sound like you’re just, “I’m learning piano.” You’re like, “I can perform this piece.” Is that something that is sort of the way your mind works? Is it something you’re very purposeful about when you’re thinking about levels and how the hand sizes and how the patterns go?
Dennis Alexander: Absolutely. When I first started writing for Alfred, my keyboard editors, Gayle Kowalchyk and E. L. Lancaster, developed a very, very comprehensive listing of traits that needed to be within each level. I tried to adhere to that as much as possible. Writing at the elementary or late-elementary level is much more challenging for me as a composer than writing at the intermediate level, where you have so much more leeway and options to choose from for things to do. Finding ways to write elementary pieces that are interesting, fun, and creative pieces that kids want to practice—like to practice—is very, very challenging.
And in fact, whenever I sometimes get asked by budding composers out there, they’ll ask if I could possibly look at some things they’ve written and give them advice. I find that for most of them, they want to turn in materials for me to look at that are more advanced. And I’ll ask them, “Could you please write a couple of elementary pieces that have certain restrictions? No sixteenth notes, no even dotted quarter followed by an eighth note rhythm that covers a fairly wide range of the instrument, and show me what you can write that’s fun and interesting and somewhat novel. I’m amazed at how hard that is for lots of younger composers to do. But if they ever want to get their foot in the door from a compositional standpoint, writing for educational companies, they need to be able to come up with interesting, exciting things at that elementary level.
JS: Yeah, the accessible level.
DA: The accessible level because first of all it’s what publishers sell the most. And you know, the sales go down at higher levels. I think a lot of young composers who are interested in a career doing this don’t understand that yet.
JS: I also think it’s connected to your deep passion for teaching and also teacher education. You came to composition as an outgrowth of your love and passion for playing piano, teaching piano, and helping others teach better. And therefore your awareness and understanding of who you’re writing for. That’s probably something that many young composers haven’t thought through. Actually, if I spend time with the group of people I’m writing for, I’ll begin to understand better how they would respond or how they learn.
DA: Yeah, they have to know how a child thinks. They need to know what works for the young hand or the small hand. So yeah, when I’m writing music at those levels, I think very, very hard about what feels good in the hand for the smaller hand. Or I try and write pieces that are so interesting from either a harmonic or rhythmic or melodic standpoint, that the child will want to practice it and grow from it. And I love it. For me, the nicest compliment I can get from a teacher is for them to tell me, “Your music works so well for my kids because it fits their hands, and it stays within the level.” You know, that’s another important thing.
JS: And it sounds beautiful.
DA: And it makes them sound better than they are.
JS: It makes them sound big.
DA: I love it whenever I hear things like that.
JS: I think we need a course on piano pedagogy for composers. Really! I mean, when you think about it all, you get asked that question so frequently, yeah. So here I am recruiting you to do something else. [laugh]
If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Dennis Alexander on Apple Podcasts, Spotify, YouTube, or our website!
MORE ON DENNIS ALEXANDER
- WEBINAR: Dennis Alexander with Jennifer Snow
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