Inclusion, Ideas, and Innovations Volume 10, Number 3

Clavier Companion May/June 2018

May/June 2018

Consider this: Inclusion, Ideas, and Innovations Volume 10, Number 3

Bringing music-making to everyone The repertoire-rich challenge The Housewarming Project May/June 2018, Vol. 10, No. 3

Contents Ideas Preludes First Looks 4 Editor’s page 8 Musical news & notes 60 Closer Look: Method Review The balance of things The Lang Lang Piano Method Deborah Rambo Sinn 9 Poetry Corner Susan Geffen 62 New music reviews 6 Variations 9 Recent research Barbara Kreader Skalinder 64 Recordings

72 Questions & Answers 66 Apps for teaching Sam Holland 70 Keyboard Kids’ Companion Learning Repertoire Perspectives

&Teaching 44 Fostering collaboration 52 My hardest lesson ever Autumn Zander Eric Street 36 Go green (screen) and bring the music to life! 50 Pupil Saver: “La Cage de Cristal” 56 Making money, making space Chris Madden and from Histoires by Jacques Ibert How to become an indispensible Jennifer Stadler Adrienne Wiley piano teacher Wendy Stevens 42 Create and motivate: combining scales and chords 58 Mind matters Bradley Sowash Change Julie Jaffee Nagel

9 36 66 70 May/June 2018, Vol. 10, No. 3

Bringing music-making to everyone 10 Scott Price MusicLink Connection 14 Joanne Haroutounian Celebrating the Spectrum 17 Piano Festival Derek Kealii Polischuk

Music knows no walls 20 Anna Hamilton

The repertoire-rich Bringing it home: 24 Returning to challenge in-house concerts The more you learn in the modern era Elissa Milne Jeremy Siskind More is more: 27 Forty pieces and beyond Benjamin Steinhardt 28 The challenge that revolutionized my piano studio Lizbeth Atkinson 30

Front Cover: Digital illustration by Trevor Roberson A magazine for people who are passionate about the piano. ClavierCompanion.com

Publisher Associate Editors Who We Are THE FRANCES CLARK CENTER NANCY BACHUS FOR KEYBOARD PEDAGOGY BRUCE BERR MICHELLE CONDA Interim Editor-in-Chief REBECCA GROOMS JOHNSON Director of Digital Content GEORGE F. LITTERST and Operations SCOTT MCBRIDE SMITH DEBORAH RAMBO SINN HELEN SMITH TARCHALSKI

Senior Editor Contributing Editors CRAIG SALE TONY CARAMIA VANESSA CORNETT Executive Director STEVE HALL JENNIFER SNOW GEOFFREY HAYDON PHILLIP KEVEREN Design & Production BARBARA KREADER SKALINDER TREVOR ROBERSON JANE MAGRATH JULIE JAFFEE NAGEL Managing Editors CHRISTOPHER NORTON STEVE BETTS BRADLEY SOWASH SUSAN GEFFEN WENDY STEVENS LEILA VISS Advertising Digital Management ROBERT WEIRICH RYAN GREENE RICHARD ZIMDARS

Copy Editors Circulation CARLA DEAN DAY PUBLICATION FULFILLMENT KRISTEN HOLLAND SHEAR SERVICES

Clavier Companion is written and edited entirely by pianists and piano teachers. What We Do Our editorial content focuses on: v Coverage of the newest trends and ideas in performance and pedagogy v Practical solutions for piano teaching and learning v Profiles of leading pianists and pedagogues v Thought-provoking ideas from a range of contributors v Reviews of the latest music, recordings, books, technology, and educational products

3 May/June 2018 Clavier Companion Editor’s Page Deborah Rambo Sinn The balance of things

Our topic this month, “Consider this: something similar? From a few succinct sentences, one has Inclusion, Ideas, and Innovations,” invites you the philosophical foundation for the ensuing decisions that to explore this expanding universe of piano need to be made for a studio. pedagogy. For some Clavier Companion Consider this my long-way-around-the-block readers, you will find yourself admiring those encouragement to take a step back and understand who work with disadvantaged populations. that you, as a teacher, do not need to be everything to For others, you may find yourself wanting to learn more so everyone. In my chat at MTNA in March, I suggested that that you can incorporate new ideas into your studio. And using technology is not required to be a successful teacher. for another group of readers, it will be tempting to eat the (There was more to this statement, but this snippet serves pie all at once, devouring all the information in one gut- my purpose here.) I would like to expand that notion and busting gulp, with the idea of widening your scope as a say that each teacher has unique gifts and contributions teacher as quickly as possible. to the field. Your tools of the trade will not, and should Gluttony aside, where does one begin to figure out how not, look like anyone else’s. Your own special sets of talents to dispense one’s resources of time, energy, and money in and interests makes you irreplaceable. Teaching as an creating the ideal studio? outpouring of your core calling makes you authentic. The I would like to suggest that it begin with your personal ideas in this issue may or may not pull you toward other teaching philosophy. At your core, why do you teach and interests that are in line with your philosophy. what are your values around your teaching? Teaching In his January 8 blog, Seth Godin said, “When confronted philosophy statements are a common requirement when with too many good options, it’s easy to get paralyzed. The applying for university positions but may not be something complaint is that we don’t know what to do next, because independent music teachers think of very often, if at all. “I we’re pulled in many good directions—and doing one thing believe”—or, as Diane Hidy does below, “I will”—statements with focus means not doing something else.”2 are a good way to begin. Once you externalize with words Marketers will always try to convince you that you what you understand deeply about yourself as a teacher, need more, and it is tempting to pull out the credit card decisions on how you will build your studio become simpler. when we think our teaching might improve with the latest From there, you will start to identify your strengths, who and greatest gadget, app, book, or music. I speak from your clientele is, and what tools you will need to serve them experience. Facebook teachers may inadvertently shame best. you because you do not include enough ______(fill in the blank) in your teaching. Listening to too much noise will Diane Hidy, in the first paragraph of her studio policy, states keep you from successfully filling your teaching niche (both the following: physically and philosophically), which may or may not I will teach your child the language of include whatever that “fill in the blank” might encompass. music. I teach music with this single “Consider this” is not a call to change, but rather an purpose: so my students will be able invitation to learn more about the world around us. It is to give voice to that which they cannot a celebration of the personal callings of a number of say, and for which they have no words. our colleagues and an encouragement toward lifelong My studio has a positive and enthusiastic education and exploration. It is a challenge given to inspire environment. I will tailor the curriculum you toward equilibrium and confidence in your calling as a to match your child’s specific learning teacher. And, who knows? You may find yourself heading needs.1 out on a new avenue in your studio. 

The wellspring of this statement comes from her core 1 DianeHidy.com/how-my-studio-works/ teaching philosophy. This vivid paragraph will help her 2 SethGodin.typepad.com/seths_blog/2018/01/stuck-on- potential students understand who she is. Have you written whats-next.html

4 Clavier Companion May/June 2018 Inclusion

in piano study Bringing music-making to everyone

By Scott Price f there is one thing that music and hearing impairments, and developmental can do, it can bridge all divides. It delays of all types. Students have weekly does not recognize age or gender, lessons (30, 45, or 60 minutes), and each race or social class. Music does lesson includes instruction in improvisation. not recognize disability. Music Music composition is included for students does not discriminate. It finds and as possible. They perform on a recital each nourishes the good in everyone, semester and are required to improvise for the and every person has the ability audience in addition to performances of their to experience and make some repertoire. Some students also perform their kind of music. If we cannot find a way together, own compositions. Ior if we reach an impasse, music can always open a door, or be the door to understanding. Inclusion in music is about ways to open doors for everyone—to include everyone regardless of circumstances and allow them the opportunity to study and enjoy music. Inclusion in music means traditional study, but also music therapy, music for people with special needs, music and medicine, music study for the disadvantaged, music study as a form of cultural awareness and celebration, and music as a form of social justice. This series of articles highlights just a few of the programs that have been created and are providing inclusion in music study for differing populations. I am truly proud to be part of such a remarkably dedicated profession that believes The students with special needs also so strongly in the ability of music to bring joy contributed to the creation of some graduate and to empower people in all communities and piano pedagogy seminars at The University throughout their lives. of South Carolina. Carolina LifeSong Initiative The Carolina LifeSong Initiative at the students were crucial to the development and University of South Carolina School of Music content of the course “MUSC 776 Teaching is a program designed to provide piano Students with Special Needs,” where graduate lessons and music experiences to students students receive instruction on adaptive with autism and other special needs including, pedagogy, policy and regulation, and related but not limited to, Down syndrome, visual subjects. They observe lessons, and later

11 May/June 2018 Clavier Companion assist in teaching students in the program. The Carolina LifeSong Initiative students’ work Considerations for sensory-friendly with improvisation resulted in the development events include the following: of the course “MUSC 776 Pedagogy of • Handicapped parking; Improvisation.” They contributed to the creation • Accessibility in the venue including of an improvisation curriculum for beginning entrance, elevators, seating, signage, and to intermediate students. This curriculum is restroom access; designed to foster creativity and is used to help • Keeping lighting at a normal level; students experience and understand musical • Avoiding use of amplified sound; concepts before they encounter them on the • Avoiding heavy perfumes or colognes; printed page. The graduate students then move • Publicizing the event as sensory-friendly into learning how to improvise in musical styles and including welcoming language using from the Medieval to contemporary periods. person-first language; We would not have these courses without the • Welcoming and explanatory statements in inclusion and contribution of our students with all publicity and spoken introduction; special needs. Their presence showed us how to • Assistance for audience members; be better teachers and better musicians. • Orientations for performers as to what What should never be left out of the inclusion they may expect from patrons, and equation for students with special needs are their expectations for appropriate behavior and parents, families, and friends. Simply having an responses from performers; opportunity to be included can be meaningful. • Obtaining of all necessary permits, etc.; and For many parents, this may be the only time • Bringing the concert to those with special they can see their child or family member as needs, or arranging to have them brought not being different, being able to the venue. to participate in and do Inclusion may also mean making events accessible something that every other to people with very busy lives and schedules who person can do. The simple wish to attend concerts but may not feel they have act of being involved time. I have started advertising my faculty piano sends the message that recitals as “Piano Evenings.” The concert design is they and their loved ones to play music by one composer and have it last for are “part of” and not “less two hours or more. Our most recent piano evening than.” included a performance of the complete Nocturnes A growing number of by Frédéric Chopin. These concerts do not have organizations are sponsoring to be performed by one person—they could be “Sensory-friendly” events for the performed by two or more people, or by a group community. Many of our friends and of students. The idea is that they are advertised family members with special needs often as “informal,” and audience members are told that experience hypersensitivity regarding new they are welcome at any time. They should feel locations, lighting, sound, etc., and may have free to make the concert fit their schedule and behavioral needs that require an adaptive come early and leave as needed or come late and setting. The event location is modified to make leave as needed. They should make the program fit the experience more tolerable for persons with their needs and enjoy the event as their schedule sensitivity concerns. All of our student recitals permits without feeling pressured by time or other in the Carolina LifeSong Initiative are sensory- constraints. friendly, and our graduate students apply to The Carolina LifeSong Initiative has also perform on one sensory-friendly concert that is partnered at times with organizations in the held each semester free of charge for the general Columbia, South Carolina, metro area to bring public. I have made my faculty piano recitals music experiences to their residents. These have sensory-friendly as well. included day facilities for adults with special needs,

12 Clavier Companion May/June 2018 These examples are just a few of the ways that music study and enjoyment may be expanded to include persons who might not otherwise have the chance to participate. Later in this magazine issue, you will read about some other programs meeting as well as schools and programs the needs of disadvantaged students, students for children with special needs. with special needs who are striving to continue Not to be left out are assisted their education at the collegiate level, and persons living centers and dementia and who are able to participate and find value and Alzheimer’s care units. Our empowerment in their lives through music study in collegiate chapter of MTNA has a correctional institution. Music can be everywhere, run a program providing concerts and music is for everyone. of their own performances for residents at these facilities and bringing their students to perform solo Scott Price is Professor of Piano and and in duets. One series of programs was designed Piano Pedagogy at the University of by students with music therapy and music in early South Carolina. Nationally recognized childhood training to create programs of music for his work with students with autism, from different decades, complete with chances for he is founder and director of the Carolina residents to be involved in the music making as LifeSong Initiative that provides music part of their therapy. The students were later asked lessons and music experiences for by the medical staff at one facility to develop a students with autism and other special needs. He therapeutic recorder study program to help currently serves as President of the Board of Trustees residents improve their breathing ability. of The Frances Clark Center for Keyboard Pedagogy.

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13 May/June 2018 Clavier Companion The MusicLink connection

By Joanne Haroutounian usicLink begins with “At age two, Charles asked for a simple idea: link an piano lessons which he received to eager disadvantaged a limited extent. He studied piano student with a profes- in grade school with a jazz gospel sional teacher who pro- teacher. In his early teens he turned vides lessons for little or to classical music and taught himself. no cost for as long as the His grandfather raised him until passing child wishes to learn. This away when Charles was nine. At age 12, simple connection impacts he moved in with his single mother, the life of the child as well as that of the teacher. who was mentally and emotionally MMusicLink teachers soon realize these lessons challenged. He eventually declared expand beyond performance skills, creating emancipation from her. I find it highly personal connections with this child over years of significant that he did not go the lessons, molding a lasting mentoring relationship. common route of drugs and alcohol They describe how they just “feel good” every time that marks so many young people they teach these students because they know the under such circumstances, and that lessons are appreciated. One of our “thank you” he had the initiative to train himself in letters shared: performance and composition. He has no family support and was listed as “Don is still enthused about music and homeless at his school.” gave me a big hug when he left his first lesson this September after a summer Joyce discovered Charles at a solo and ensemble break. His grandmother is a delight and contest where she offered him lessons after sees that he gets his practicing in.” hearing him perform a self-taught Chopin Polonaise (Bb Minor, post- Connecting to students and families humous). She knew he was through music an unusual student who had Connections expand to the families of these children, perfect pitch, tuning his old often in dire personal circumstances. MusicLink spinet himself with an Allen brings music into their home and their lives. I wrench and even compos- remember one father, thanking me for a donated ing impressive pieces making piano that was delivered to their home, saying “I his own staff paper for these know my children will be playing music in our home creations. Thanks to Joyce’s rather than being on the street.” There is no greater mentorship, instructional support joy than seeing MusicLink parents applaud and beam and numerous scholarships, Charles with pride as they hear their children perform. I have is currently a rising junior at the University witnessed this over the past twenty-five years and of Missouri-Columbia in piano performance. He still get a bit choked up at each local or state recital. is conductor of a contemporary music ensem- The role of the music teacher in the lives of these ble and has performed three benefit recitals to children is often exceptional, as in the connection support his educational expenses, with Joyce ac- of Missouri MusicLink teacher, Joyce Berg and her companying him in a performance of a Mozart student, Charles. In her own words: concerto.

14 Clavier Companion May/June 2018 Our history on 45 percent of these forms. Again, the strength These MusicLink connections began in 1992 as an of the relationship among the teacher, student, and outreach program of the Virginia Music Teachers family plays a dominant role as seen through these Association and soon reached the national level comments: through support from the Music Teachers National Association Foundation. In 2001, MusicLink grew “Chantelle’s mother has an incurable into the MusicLink Foundation, a 501(c)(3) non- form of bone cancer and has been in profit organization to expand its teacher recruitment a slow state of decline. I try to make base and provide more opportunities to its students. her cello lessons fun and musically As of July 1, 2017, in our Silver Anniversary year, fulfilling! We laugh a lot and play duets MusicLink has reached more than 6,600 students in together for pure enjoyment.” fifty states (currently active in 41) and four Canadian provinces. MusicLink teachers have provided more “Matt’s mother is his chief advocate (as am than 480,000 hours of instruction, equivalent to I) and he is very involved and challenged $12.3 million of in-kind scholarship donation. The in all his activities. His dad is apparently Foundation has provided over $300,000 worth of unstable and irresponsible but continues instruments to students and more than $40,000 in to support him in music. When he is not camp scholarships. Major publishers supply free or in the home, it is very hard on Matt. But discounted music to the program with additional he tells me about it and we talk it out business partners providing discounts on instruments, together. I treasure this young man and software, and teaching materials, combined with I’m so grateful for the MusicLink program ongoing discounts to MusicLink teacher purchases that allows his lessons to continue. It is at local music dealers. The Foundation also provides my joy to teach him.” Grass Roots Grants to start new programs, Teacher Reimbursement Grants to assist teachers who pay for music and event fees for their students, and several $1,000 student achievement awards for graduating seniors. We have conducted quantitative and qualitative research to gauge the success of the program over the past two decades. Findings were shared in a presentation called “What Music Means to Me” at the 2013 MTNA Conference and in the article MusicLink: Lessons Learned after Two Decades in the April 2014 American Music Teacher e-Journal. A survey of seventy-five MusicLink students who were eighteen years or older and took lessons through MusicLink for five years or more showed that 99 percent attended How can you be involved? college (including Juilliard, MIT, Stanford, Yale, and Now that you have learned how these MusicLink Berklee) with 39 percent receiving partial to full connections impact the lives of teachers, families scholarships. When you take into account that most and students, we encourage you to take the next of these students would not have been able to afford step personally in this connection. You can join lessons at all, MusicLink truly played an essential role MusicLink by agreeing to teach a student at a in their musical education. reduced rate—50 percent or less than your normal A content analysis of more than 3,000 student fee. You will receive a pamphlet full of discounts evaluation forms completed by teachers showed offered by our business partners as a “thank that comments about the “relationship with the you.” The program encourages a small payment student and parent” were the most prevalent, found to instill commitment and the importance of

15 May/June 2018 Clavier Companion lessons to the family. All MusicLink teachers I vividly remember the firstMusicLink receive a background check. MusicLink students connections in Virginia at the start are nominated by their school music teacher, of the program in 1992. We kept community leader, or parent directly through it simple, relying on the personal the foundation website (musiclinkfoundation.org). commitment of our teachers to MusicLink coordinators confirm financial eligibility bring music into the lives of working with the parents prior to starting lessons. disadvantaged students. After twenty- The heart of the program relies on a conscientious five years of experience and growth of team of regional coordinators who link with state the program, our mission remains the same, and local coordinators to create the network of simply “to create musicians, one student at teacher-student links. They serve as liaisons between a time.” MusicLink families and teachers to secure a lasting connection for long-term instruction. To help spread Dr. Joanne Haroutounian is the the program in your community or state, you might Founder and Executive Director be interested in joining our coordinator team by of the MusicLink Foundation. She volunteering on the website. Simply click on “How oversees the piano pedagogy pro- to Participate” as a volunteer coordinator. gram at George Mason Universi- We are also pleased to see teacher organizations ty and is the author of over thirty or individual studios connecting with us to raise publications in music and gifted funds for the MusicLink Foundation through play- education. She presents workshops a-thons, benefit concerts, and studio-based Promise internationally on musical talent, piano pedagogy, and to Practice events. Ideas for these events are on the artistic ways of knowing. website, www.fundmusiclink.com.

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16 Clavier Companion May/June 2018 “Celebrating the Spectrum Piano Festival”

by Derek Kealii Polischuk he Celebrating the Spectrum a Pilates exercise class, and lunch, dinner, and Piano Festival at Michigan State evening activities on the MSU campus. The five University was a first-of-its-kind students in attendance were chosen by application summer piano festival that first and were each paired with a graduate student occurred from July 24-31, 2016. This program assistant from the piano department of festival immersed five pre-college the Michigan State University College of Music. piano students in a daily schedule Students stayed in a dormitory and ate meals meant to emulate a week in the life with program assistants and faculty. of a music major in a college setting. After a healthy breakfast, students were The event culminated with two concerts: a house instructed in a group setting on the solo Tconcert for a select group of family and friends, repertoire that they planned to perform at and a public concert attended by a large audience the festival. During this time, students learned in MSU’s Cook Recital Hall. Both concerts featured to make constructive and positive comments performances from students with Autism Spectrum on the performances of their peers. In order Disorder (ASD), Michigan State University faculty, to demonstrate the importance of balancing and graduate student interns, and included solo exercise with focused piano practice, students, piano music, as well as music for piano four hands. mentors, and faculty participated in a The eight-day festival included daily masterclasses Pilates class. The instructor focused on on piano repertoire taught by Professor Deborah helping the participants to develop Moriarty and Dr. Derek Kealii Polischuk, hour-long a “body awareness” approach to lectures by national and international educators, playing their instrument.

Kalil Olsen plays in a masterclass for Dr. Polischuk.

17 May/June 2018 Clavier Companion In the afternoons, students and mentors enjoyed 100 people in attendance. The performance was a lecture meant to emulate the experience and livestreamed, as well, to reach other friends and subject matter in a typical undergraduate course relatives. In 2016, at the conclusion of the recital, at a school with a similar profile to Michigan State Michigan Lieutenant Governor, Brian Calley (an University. Instructors included Dr. Lauren Harris of active advocate for Autism research), presented the Psychology Department at MSU, Randall Faber students with certificates of achievement signed of the Faber Piano Institute, Dr. Michael Thaut, by the President and Provost of Michigan State a neuroscientist and Professor of Music at the University. University of Toronto, Dr. Shannon Kay de l’Etoile An archived video of the final recital from both from the University of Miami (Florida), and Dr. Scott years can be viewed online. Price from the University of South Carolina. livestream.com/musicmsu/spectrum2016 Later in the day, students and mentors worked on livestream.com/musicmsu/spectrum2017 four-hand repertoire in a group setting. Students were assigned four-hand repertoire two weeks in advance of the festival and worked on performing this repertoire with mentors from Michigan State University. Other afternoon activities included a jazz improvisation workshop and practice time with mentors. During the latter, program assistants reinforced concepts taught earlier in the day during masterclasses.

David Ginther and Hsin-Yi Huang perform a movement of Faure’s Dolly Suite.

Parental anxiety in families with students on the autism spectrum can be intense. The possibility of failure in a situation that is high pressure, such as a music festival, can be enough to cause a student or parent to have second thoughts about the wisdom of participating in such an activity. Families with students on the spectrum face difficult decisions Joey Tan and Ling Lo perform a Brahms waltz. about their children’s futures. Enrolling a student in On the Friday of the festival, students had a college requires a large leap of faith that the student dress rehearsal along with a discussion about their will be successfully independent, that he will find upcoming recital. In the evening, students, program like-minded and compassionate peers, and will assistants and faculty performed a house concert engage with the required support-structures. These at a home in East Lansing that was attended by considerations may lead certain families to write off program sponsors, family members, and university the possibility of higher education altogether. dignitaries. An elegant dinner was served following When curriculum is carefully planned, and the performance. The house concert served as a standards are at a high and artistic level, an comfortable warm-up in front of a familiar audience. experience like the Celebrating the Spectrum On Saturday, students gave a public recital with Festival can have an impact on a student and his

18 Clavier Companion May/June 2018 ASD, a typical freshman orientation may not be enough. Immersion activities like the Celebrating the Spectrum Festival provide steps towards a successful transition into college life.

Derek Kealii Polischuk is Associate Professor of Piano and Director of family beyond just musical Piano Pedagogy at the Michigan development and inspiration. State University College of Music. When one examines responses Derek is the founder and director from a post-festival survey of Celebrating the Spectrum: compared to a pre-festival survey collected A Festival of Music and Life, a from parents, one can see that a powerful and summer piano festival for carefully crafted musical immersion experience students with autism spectrum disorders. can improve parental attitude regarding study at a large university. One response was as follows:

“I have every confidence that my child will succeed (at university), and this is a result of the involvement in this program. My child stepped up to the plate and was confident and mature. Although other subjects might be more of a challenge (academic work load, class size, and professor personalities may be challenging as well), I feel the exposure to a college environment helps us know what to expect in the future, and reduces the anxiety level, Love Music? which helps at being successful. The more familiar the student is Love Kids? with the situation, the better it will go for them. Transitions with autism are usually difficult, so this is a great help!”

Students with ASD frequently exhibit rigidity, which can lead to significant difficulties with transitions. Immersing children with ASD into activities that require a limited amount of flexibility—while also allowing for adaptation of Make a living. Make a difference. schedule where needed—can have a powerful impact on their ability Open a studio. to function effectively in a setting like a university. For a student with musikgarten.org/startupspecial.cfm

19 May/June 2018 Clavier Companion Music knows no walls

by Anna Hamilton he words above the entrance The joy of making music doors in the Camille Griffin The content and fundamental purpose of the Graham Correctional Institution lessons is the same as that of a lesson for a of Columbia, South Carolina, student in any other place. What may surprise read, “Living a life that matters you about teaching in an environment such as doesn’t happen by accident. It’s this, and what stands out to me, is the sheer not a matter of circumstance but eagerness for learning, the focus and effort of of choice. Choose to live a life that each student, and yes, every week, the laughter! matters. Attitude is everything.” In each lesson, there is a strong element of joy Each Tuesday morning, I walk beneath these in making music. One student, still in her first Twords to meet with four female inmates for piano weeks of lessons, played a song using the white lessons. The process of reaching them takes me keys, C, D, and E, and utilizing hand crossings past a guarded entrance, down a winding road to play groups across the piano. I had looked that slopes through fields, through a series of at this piece many times as a simple exercise in locked gates and doors, and a metal detector. recognizing white keys that could be skipped When considering inclusivity, I’m aware that it is over. When I demonstrated it to her, this student’s this journey across and in that creates the greatest face lit up with a broad smile. She laughed and challenge for me. These students are physically exclaimed, “It is so beautiful, SO beautiful.” She as near as many places in my city, yet in their sat down and played it herself with an inspiring separation they are farther away. amount of joy. The image of student and teacher seated The women in the piano program at Camille together at a piano is one that has spanned Graham impress me with their bravery and generations. The characters and place may change, willingness to perform and share the music they yet the spirit remains the same. The piano at Camille are making with others. Many adult students often Graham is located in the gymnasium; this is where feel apprehensive and reluctant to perform for an it is used for weekly religious services. The space is audience. These women are eager to perform in needed for a variety of activities, but Coach Cain the recitals that are offered twice yearly, in the and Chaplains Cruse and Truitt of Camille Graham winter and in the spring. Before the most recent arranged to accommodate recital, some of the students taking lessons were piano lessons in the new beginners. They had only had three or four weekly schedule. For lessons. I let them know they were not obligated lessons the piano is to perform, yet every student wanted to. For the often wheeled into a recital, the piano was placed in the center of the smaller exercise room, gym. Beside it, a sound system was set up, and so activities can occur chairs were in a line for performers. Close to one simultaneously in the hundred inmates attended the performance. The gym. It is here in this room four students currently in lessons performed, as where four women come, well as two students who had previously taken one by one, each week for a lessons in the program but were unable to 30-minute piano lesson. continue due to scheduling.

20 Clavier Companion May/June 2018 In addition to the piano in the gym, students retain that spot unless and until circumstances have two other instruments available for practice: prohibit it. There are some students I have seen a keyboard with headphones in the Chaplain’s for only several lessons, some for a semester, and office area and a keyboard with headphones in the others have taken lessons for years. Lessons for housing building. Practice time is limited, so each students have stopped due to a variety of reasons student also has a short paper tabletop keyboard such as scheduling conflicts, changes in their work to aid in physical practice without sound. Students responsibilities at the institution, or when they are have shared with me many examples of how they released to go home. The current waiting list has use their hands to practice on tables, bedcovers, or the names of 39 women waiting for an opportunity their own laps, as well as showing me long fold-out to take lessons. A student who has been in the keyboards drawn with pencil on pages of paper program at Camille Graham since spring 2017 said, taped together. One student said of playing piano, “I work to get to the place where it’s just me and “I was the first one to sign up… the piano making music. I can feel it — I can close Since then I have kept attending my my eyes and I can just be there.” weekly class because it is another positive thing in a negative environment like this. Dr. Hamilton is patient “A positive thing in a negative and supportive of me every week. environment” The music session is soothing for Over my six years of teaching piano at women’s me. Before I began this class, I knew correctional institutions, more than twenty women nothing about how the piano works, have taken lessons. Students are selected in order but now I have completed the begin- from a sign-up list, and once securing a spot, may ner’s book and am well on my way to

Piano lesson at Camille Griffin correctional institute.

21 May/June 2018 Clavier Companion learning and discovering so much her work assignment do not allow her to attend more about music and the piano. I lessons anymore, she continues to practice on am grateful and excited that the De- her own. It is my hope and expectation that partment of Corrections has allowed when she goes home in the coming year, she will inmates the opportunity to take pi- continue to use her musical talent and the skills ano lessons.” she has developed. She has expressed interest in church musicianship, song-writing, music The outcomes of lessons for adult piano theory, music therapy, and has a dream to offer students vary. Just like the adult students in my music instruction to children in an after-school home studio, my students at Camille Graham program who may not otherwise have access. It work week by week to develop their playing is my hope that she is met on the outside with skills at the piano, build a growing understanding opportunity. She has shown her will, dedication, of musical notation and repertoire, and follow and sincerely moving musical expressiveness in an individual path of musical development all she has accomplished as a pianist in the past influenced by unique preferences for styles of years. Her talent was always inside her, waiting music and goals. Some of these students may only for opportunity. continue playing the piano for individual joy, some aspire to share their musical gifts and help others learn, and one may continue with music as The musical and human effects a profession. One student in this piano program Music is inclusive, and access to music education began in 2012 and continued lessons for more should be inclusive. The act of teaching music is than five years. She now plays piano for weekly a human act, and the act of making music is a religious services at the institution and leads human act. To create is, to an extent, to reveal and accompanies the choir. Although changes in oneself. In the act of creating music, one says,

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22 Clavier Companion May/June 2018 “This is me, these are my efforts, I am making and Educational Piano Music shaping this sound.” The teacher’s response has not only a musical effect, but a human effect. Teaching by Bärenreiter can be not only an act of educating, but also an act of caring. In a music lesson, teacher and student come together as people with a common purpose.

Peter Graham Emil Hradecký Subversive Etudes Two-Part BA 9585 Piano Miniatures on One Page These piano miniatures are a distinctive and unusual 16 simple piano pieces addition to the teaching for beginners literature – genre paintings H 8034 in contrasting styles with musical wit and inventive “As with composers like sounds and rhythms. Shostakovich, Kabalevsky, and Bartók, this collection of elementary-level miniatures represents early-level composing at its nest.” MTAC, New Music Review

In this togetherness, one sees plainly that any ideas of the female students in this program as “other” or as separate and different are a myth. Music can come from any hands. Music does not know Bohuslav Martinů how many walls may surround it. It lives the same for Easy Piano Pieces maker and listener in any place it is brought to life. and Dances NEW BA 9586 Béla Bartók Anna Hamilton, DMA, is an Though Bohuslav Martinů Easy Piano Pieces produced a lot of didactic independent piano teacher in material for the piano, not all and Dances Columbia, South Carolina. She is of it has been published and BA 6587 many delightful works have Lecturer in Piano and Accompanist remained unknown. Among This collection gathers at the University of South Carolina other pieces, his four-part together a wide variety of piano cycle “Crotchets and dance forms and folk-music Aiken. Hamilton began and continues Quavers”, composed in Paris in miniatures. Besides familiar a program for piano education in 1937, appears in this album for works, it also contains several the rst time. It is devoted to that have never before been

women’s correctional institutions Errors excepted; price changes and delivery terms subject to change without notice. changes of metre and tempo. edited. in South Carolina: Goodman Correctional Institution (2012-2016) and Camille Griffin Graham Correctional Bärenreiter Institution (2017-2018). www.baerenreiter.com

23 May/June 2018 Clavier Companion home by Jeremy Siskind

Returning to in-house concerts in the modern era or a pianist without are often more meaningful than high-level management, traditional performances. organizing a tour can I’m not the only one to have the feel like an impossible idea of house concerts and I cer- undertaking. There are many tainly don’t claim to be the first. A Freasons why touring is harder trend towards salon-style concerts than ever before: venues for has been burgeoning in the last classical and jazz music have been few years. Classical pianist Kim- shuttering their doors all over the ball Gallagher travelled all over country, audiences are far from the world giving house concerts guaranteed even at the most as part of his 88 Concert Tour; or- reputable venues, most major ganizers and venues such as Jazz- papers no longer have music critics Vox (Seattle), Jazz at the A Frame promoting upcoming shows, CD (Los Angeles), and The Q Quintes- sales have ceased to be a reliable sential (New York) present regular way to pad one’s revenue, and concerts with houses as primary many venues choose the economy venues; and house concerts have of a digital keyboard over the even inspired the formation of tech- majesty of an acoustic piano. based startup companies, such as When I released my chamber jazz Boston-based Groupmuse and Co- album, Finger-Songwriter, in 2012, I penhagen-based Low-Fi, who are wanted my trio’s new music to be trying to make hiring a string quar- heard. So, despite the challenges, tet as easy as calling an Uber. I set out to create a tour. Instead But back in 2012, still a house of pursuing the traditional route concert novice, I asked my ensemble of booking jazz clubs and small members to reserve 17 dates on their concert halls, I decided to revamp calendar and went to work. First, I a tradition from the 1800s and set ground rules for the concerts. A trend organize a series of salon-style The host is responsible for providing house concerts. My group, “The the audience, which must consist towards Housewarming Project,” has since of at least twenty people. There played well over 100 house concerts must be a recently-tuned acoustic salon-style in more than twenty states across piano for the performance. The concerts America (as well as a handful in concerts are free for the hosts, but Europe). Not only have I found a $20 donation will be suggested has been house concerts to be a workable from each audience member. (We way to tour as a piano-based group advertise that audience members burgeoning in the 2010s, but I also believe that get a “free” CD with a $20 donation.) in the last they can provide experiences for Hosts are not required to let us stay audiences and performers that at their homes after the concert, few years.

31 May/June 2018 Clavier Companion Bringing it home

but we appreciate a place to spend the this summer! An in-home concert is an night if they’re willing. We don’t require event your friends and family will never hosts to provide food or drink, but most forget!” folks choose to have some appetizers With a few tour pillars set on the cal- and wine when they have company over. endar, I expanded to contacting friends Lastly, this is not background music! of friends—“surely you must know some- The audience is asked to be seated and body who owns a piano?” “Who do you attentive. know in the greater Chicago area that With the ground rules set, the biggest would enjoy an individualized concert question became where I might find experience?” “Can you connect me with seventeen people across the country to someone who loves music near Phil- host such an event. I started with those adelphia?” Then, I started posting on I knew—former students, fellow piano Facebook (I’m sure I became a bit of teachers, friends from college. I targeted a nuisance to my social media friends) and eventually even reached out individ- ually to piano teachers via MTNA local chapter websites, piano technicians by searching for qualified techs in targeted metro areas, and piano stores to ask if any recent piano purchasers might enjoy having a concert in their home. After hundreds of emails, scores of phone calls, and weeks of pursuing concert hosts with a dedication which might fairly be termed “maniacal,” I was able to find seventeen concerts to fill our seventeen open dates. The tour exceeded all my expectations—not only were there seventeen living rooms with full audiences interested in hearing our concerts, but these audiences were more engaged, more responsive, and more generous than those I was used to playing for in traditional venues. Many people even told us they wouldn’t think to go to a jazz or classical concert, but that they found the music powerful once they showed up. These people were the most inspiring to me! “We Siskind (left) poses families I boarded with during piano didn’t even know we liked jazz,” wrote one with his House- competitions, family friends who had audience member in our guest book, “but warming Project trio, vocalist Nancy recently purchased pianos, and musicians you made our hearts melt!” “We came to Harms (center) and I’d stayed in touch with from summer support the host but thoroughly enjoyed woodwind specialist Lucas Pino (right). camps and festivals. My pitch played [it].” Wrote another, “We think we’re con- upon people’s yearning for adventure verted.” “Never did we realize we loved and excitement—“Do something unique jazz so much,” wrote a third.

32 Clavier Companion May/June 2018 Audience members socilialize before an in-home concert in Atlanta, GA. PHOTO BT LLOYD MERRIUM LLOYD BT PHOTO

We also found our hosts and menting isolated public performanc- audiences were more generous than es with additional house concert we expected. If everyone donated dates. My trio has kept at it because, the required $20, each performer frankly, these tours are amazing would squeak by with about $100 adventures for us! Over the years, per performance after expenses—not we’ve ended up putting with our a bad haul for a young musician, but hosts on a golf course in Kentucky, a pretty thin margin to work with in meditating at a yoga studio in up- case anything went wrong. And if we state New York, enjoying a massive had to pay for hotel rooms, that thin potluck picnic in Virginia, looking at margin would quickly disappear. But the stars in an open desert in New everywhere we turned, we discovered Mexico, smoking Cuban cigars in the that our audiences consistently Netherlands, admiring a collection My trio has donated over and above the minimum of hundreds of fish-related neck- kept at it $20 required and our hosts were ties in Maryland, taking a midnight enthusiastically willing to let us sleep swim in Lake Michigan, and learning because, in their extra bedrooms, basements, about the future of Alzheimer’s care frankly, these and attics. At the end of the tour, we in North Carolina. We have made actually had surplus money—quite hundreds of long-lasting friends tours are a bit, in fact—to divide among the and have had countless discussions members of the trio. about art, music, and life that have amazing Since then, I’ve organized a hand- helped to shape my worldview. adventures ful of similar house concert tours Of course, these tours have had throughout the U.S. and started aug- their negative moments too. One for us!

33 May/June 2018 Clavier Companion Bringing it home

of our host’s dogs pooped on our After discovering in-home concerts, “stage” just as we were getting ready however, my attitude has changed. to play in a Chicago suburb; there The people we’ve met absolutely have been last-minute cancellations needed every single moment of music which have left us stranded and we gave to them and playing for these financially in the hole; we’ve had appreciative audiences made it clear hosts who misunderstood their duties to me that being a musician, in fact, and haven’t provided an audience; is a selfless and essential endeavor. one host had to drive our saxophonist to the ER after he broke his foot in ... one host had to drive Tacoma; and once I even our saxophonist to the put an incorrect date into my calendar, so we showed ER after he broke his up for a performance at a house that wasn’t expecting foot in Tacoma. any musicians that night! “I currently listen to EDM [Electronic Dance Music],” wrote a young concert attendee from Olympia, Washington, “but as I sat and listened, tears ran down my face. This is a first for me! Come again!” I don’t know if you think music- making is selfish or selfless, but I’d love to talk with you about it. How about after a concert—at your house?

(Editor’s Note: Enjoy one of Jeremy’s house concert performances at youtube.com/watch?v=tuOoJXlxI6U)

Pianist Jeremy Siskind, the winner of the 2012 Housewarming Project Nottingham Interna- members Siskind, Harms, tional Jazz Piano Com- and Pino in concert. petition, is a Professor But mostly, these concerts have of Piano at Fullerton reinvigorated my love of making music. College and an author Truth be told, I used to feel selfish of ten Hal Leonard about being a professional musician. publications including the landmark After all, at a time of shrinking instructional book, Jazz Band Pianist. audiences and waning interest, what His new video series, “at_Home/at_ could the world need less than yet Play” can be viewed at youtube.com/ another pianist vying for attention? jsiskin2.

34 Clavier Companion May/June 2018 Learning&Teaching Green screen Go green (screen) and bring the music to life!

by Jennifer Stadler and Chris Madden magine your student performing inside the In this article, we will describe everything you need Sydney Opera House, at the top of Mount Fuji, or to know to create engaging music videos with even on the rings of Saturn. Seem impossible? green screen technology. It’s not! Using green screen technology, you can Itransport your students to any place or time without What is it, and how does it work? leaving your home studio. All you need is some green Green screens are commonly used on movie sets material, bright lights, a recording device, and low- and in weather broadcasts. In the picture below, the cost video-editing software, which is widely available solid green backdrop has been replaced by an image for both iOS and Android devices. of the temperature forecast. Given the availability of hi-tech video projectors, one might wonder why green screens are necessary. Green screens offer one important advantage over video projectors: they allow performers to appear “inside” an image or video without creating shadows associated with overhead projectors.

There are a variety of studio projects that could be enhanced using green screen technology, such as holiday videos for family and friends or eye- catching music videos on your studio website (which may even attract new students!). Perhaps you want a fun summer project that students can To achieve this effect, video editors use a post- show their friends when school begins. production technique called chroma keying. Chroma No matter what project you choose, creating a key technology isolates a specific color and “keys it green screen video is easier than you might expect. out,” allowing a different image or video to appear in

36 Clavier Companion May/June 2018 the background. Chroma key technology can isolate Green cloth offers the most advantages. In addition any color, but green is the most common choice for to being inexpensive, green cloth is portable and two reasons. First, green is furthest away from the reusable, making it easy to transport to a variety human skin tone, making it easier to achieve a clean of locations. Cloth is also durable, which means it line between the performer and the background won’t tear when you move from project to project. image. Second, green has a high degree of luminance (brightness), which also produces clean lines in the Table 1: Green backdrop materials. finished product. Advantages Disadvantages Whatever color you choose for your screen, be sure your student’s outfit does not contain any Paper • Portable • Tears easily shade of that color. Otherwise, your student’s body • Difficult setup will be “keyed out,” and you will see a floating head • Not portable as shown in the picture below. Paint • Durable • No setup • Permanent

Cloth • Portable • Wrinkles easily • Reusable • Durable • Easy setup

2. Lighting In many cases, the overhead lighting in your studio will be sufficient for recording green screen videos. If you need additional lighting, experiment with fixtures you already own. Floor lamps and table lamps placed beside the green screen can often eliminate shadows. Or, work lights can saturate a larger area of your green screen, as seen in the picture below.

Equipment: Before starting a green screen project, you will need to 3. Recording Device gather three important items: 1) a green backdrop; 2) The type of recording device you choose will lighting; 3) a recording device. The following section depend upon the nature of the project itself. For provides additional information about each item. high-quality videos, you might consider a hand-held digital camcorder. If portability and spontaneity are 1. Green backdrop priorities, the built-in camera on your tablet or phone The most important component of a successful will be sufficient. No matter what device you choose, green screen project is the screen itself. Various consider buying a tripod for your camcorder or mobile materials can be used for the backdrop, and each device so that your finished video isn’t shaky. Sound has distinct advantages and disadvantages, which quality will also vary depending upon the recording are summarized in Table 1. device you choose. If the built-in microphone on your

37 May/June 2018 Clavier Companion Learning&Teaching Green screen

device does not meet your needs, consider purchasing or hot spots, these may be visible in the background an external microphone that can be plugged into the of your final video, as seen below. microphone jack of your camcorder or mobile device.

Note: In the case of mobile devices, there may be a single jack that is used for both audio input and audio output. A number of companies make microphones that include a plug that is designed for this type of jack.

Setup: Once you have gathered your materials, you can begin the setup. In this article, we will provide step- by-step written instructions for setting up a green screen. (Editor’s note: For a video tutorial, please visit the link found at the end of this article.) First, determine where you want to place the green screen. Keep in mind that the screen must be situated behind the piano, and it needs to cover the length of the instrument. If there are gaps in the green screen, they will appear in your final video, as seen below.

Recording: Position your camera such that the green screen fills the entire lens. If you capture elements outside the green screen, you will need to crop these later. Have the student play her piece while you record the performance. When the performance is over, save the video to your device. Next, decide what images or videos your student wants to use for her music video. Some students might enjoy drawing their own picture or recording their own video to use in the background. Other students might prefer to explore images and videos online. The possibilities are endless! For students using online videos and images, it is important to ensure that all media is copyright free. Table 2 lists three popular online resources that contain copyright-free images and videos. Table 2: Copyright-free resources. The method used to hang the screen will depend • Free, high-resolution photos upon the material chosen. For cloth screens, consider Unsplash using a pipe-and-drape system or curtain rods. • www.unsplash.com Backdrops made from green paper can be attached to a wall using nails, pins, or tape. No matter what method Pixabay • Free photos and illustrations you choose, be sure your material is wrinkle free. • www.pixabay.com After your green screen is hung behind the piano, position your lighting. An evenly lit screen is • Videos with creative commons essential because it creates a single shade of green YouTube license that the editing software can “key out” and replace • www.youtube.com with a different image or video. If there are shadows

38 Clavier Companion May/June 2018 Green screen software guide to creating a green screen video in the Do Once your student has chosen a background Ink app. (Editor’s note: For a video tutorial, please and you have recorded her performance, you are visit the link found at the end of this article.) ready to import everything into a green screen software program. Low-cost editing software is Tutorial available on every major platform. Table 3 lists the When you first open the Green Screen by Do Ink most prominent programs for iOS, Mac, Android, app, you will see a sample project and tutorial. You and Windows. Advantages and disadvantages of can edit the sample project to see how each tool each program are included. works, but you will not be able to save any changes. In this article, we will limit our discussion to To create your own project, click on the plus Green Screen by Do Ink. Here is a step-by-step icon in the top right corner and select “Create

Table 3: Green screen editing software.

Advantages Disadvantages

Green Screen • Intuitive design • Costs $2.99 • Import media or record live • No built-in backgrounds • Key out any color or effects • Trim, crop, resize, and by Do Ink rotate media (iOS) • Multiple layers of media

Green Screen • Import media or record • Costs $2.99 Movie FX Studio live • Can’t crop media • Key out any color and multiple colors at once • Built-in effects and backgrounds (iOS) • Trim, resize, and rotate media • Multiple layers of media

iMovie • Free • Very sensitive to wrinkles, • Intuitive design shadows, hot spots, etc. • Realistic key • Only keys out solid blue • Titles, backgrounds, and green backgrounds transitions, filters, etc. • Can’t resize or rotate (Mac) • Trim, crop, and erase color media • Video-editing tools such as video stabilization

Vintash • Built-in backgrounds and • Costs $3.98 Green Screen overlays • Text is in Spanish (although the icons are universal) • Can’t import green screen media (have to record live) • Can’t crop, resize, or rotate media (Android) • Only keys out green backgrounds • Low resolution

VSDC • Free • Interface not intuitive Video Editor • Key out any color and multiple colors at once • Titles, transitions, filters, and special effects • Trim, crop, resize, and (Windows) rotate media • Video-editing tools such as sound normalization

39 May/June 2018 Clavier Companion Learning&Teaching Green screen

a New Project.” Inside the editor, you will see three from a cloud-based source such as Dropbox or timelines. Think of these as layers of a cake, with the Google Drive by clicking on “Locations” in the upper bottom timeline being the background image and left corner of the import pop-up box. other timelines layered on top.

Once you have selected your background, you can use a two-fingered pinch gesture to resize or rotate it. Click on the plus icon by the bottom timeline to select a source for your background. There are four source types: live video camera, prerecorded video, still image, and artwork from the Animation and Drawing app by Do Ink. Choose “Video” or “Image” for your source and select what you would like to appear in the background.

Next, choose a video to place on top of your background by clicking on the plus icon next to the middle timeline. You can make a live recording by selecting “Camera” or you can choose a prerecorded video from your library. Once you import the video, the app should automatically detect your background color and apply a chroma key filter. If the app is unable The app will automatically go to your camera roll. to detect your background color, click the color wheel However, you can also import videos and images and select the color you would like to remove. Use the sensitivity slider to adjust the strength of the filter.

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If there are parts of the video image you want to Next, click on the bottom timeline and drag the remove, use the crop tool located to the right of the background image into the window you created. color wheel. You can adjust the size of your green screen Then, click on the middle timeline and drag the video by pinching your fingers together or apart and green screen video onto the top of the background, then dragging the image to your desired location in the so it also appears in the window. background. At this point, you can begin to finalize your project. If you are making a live video recording, you will click on the red record button in the middle of the screen. Otherwise, you will simply click “Save.” Once your video has been recorded, you have the option to preview your video, export it to a cloud-based service, or save it to your camera roll. It’s that easy!

If you are making a live video, click the red record button to begin recording. If you are using a prerecorded video, click “Save” to export your video and save it to your camera roll. Voila—you have a three-layered green screen video! We hope the ideas contained in this article If you would like to make a more elaborate video, will inspire you to create your own green screen you could take an additional step and apply an overlay projects. With a little bit of green cloth, bright to the top timeline. Overlays create a picture-in-picture lights, and a cell phone, your students can star effect. You can overlay a decorative frame, a camera lens, in their own music videos! If you are interested a border—anything you want! The following example in viewing additional green screen projects, demonstrates how an overlay image can be used to visit claviercompanion.com/article-details/go- create a “moving painting.” green-01 to view our YouTube playlist. Click on the plus icon by the top timeline and add your overlay image. Next, you will need to create a window Chris Madden is Assistant Pro- inside your overlay image. This window will allow images fessor of Piano Pedagogy at on the lower timelines to show through. Select the mask Texas Woman’s University, where tool located to the right of the color wheel and crop tool. he teaches applied piano, pia- Choose a shape for your “window” (rectangle or circle) no pedagogy, and class piano. and use one finger to create the shape on your image. If In addition to performing and you make a mistake, you can click on the red “X” to delete teaching, his research interests your shape. Click “Done” when you are finished. include historical recordings, andragogy, and motivation.

Jennifer Stadler, NCTM, special- izes in educational technology, an integral component of her pri- vate piano studio and music class- room at Western Heights High School. Jennifer has an M.M. degree in Piano Performance and Pedagogy from the University of Oklahoma.

41 May/June 2018 Clavier Companion