Exploring the Preconference Tracks

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SPRING 2021 | VOL 13 | NO 1

EXPLORING THE PRECONFERENCE TRACKS

ADVANCING THE PROFESSION, SUPPORTING OUR COMMUNITY

PRECONFERENCE

CELEBRATING TEACHING MAXIMIZING Composer Eugénie Rocherolle Students Who Want Decisive Answers Student Potential

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PUBLISHER The Frances Clark Center for Keyboard Pedagogy EDITOR-IN-CHIEF / CHIEF CONTENT DIRECTOR WHAT YOU’LL Pamela D. Pike SENIOR EDITOR / DIRECTOR OF DIGITAL CONTENT FIND INSIDE Andrea McAlister • SENIOR EDITORS Steve Betts RESOURCES TO SUPPORT Craig Sale OUR COMMUNITY IN COLUMN EDITORS MUSICAL ENGAGEMENT Linda Christensen, Technology Healthy Playing, Healthy Teaching & ADVOCACY Vanessa Cornett, Barbara Kreader Skalinder, Teaching • Artina McCain, Diversity, Equity, and Inclusion Nicholas Phillips, Recordings COVERAGE OF THE Suzanne Schons, Books, Materials, and Music Keyboard Kids NEWEST TRENDS & IDEAS Helen Smith Tarchalski, Jerry Wong, International IN PERFORMANCE Richard Zimdars, Poetry Corner AND PEDAGOGY EXECUTIVE DIRECTOR & CEO • Jennifer Snow DESIGN & PRODUCTION PRACTICAL SOLUTIONS studio Chartreuse FOR PIANO TEACHING COPY EDITORS & LEARNING PROFILES Rebecca Bellelo Kristen Holland Shear • DIGITAL OPERATIONS THOUGHT-PROVOKING Shana Kirk IDEAS FROM A RANGE MANAGER OF CORPORATE RELATIONS Anna Beth Rucker OF CONTRIBUTORS ADVERTISING COORDINATOR • Sarah Jenkins CUSTOMER SUPPORT REVIEWS OF THE LATEST Morgan Murdock MUSIC, RECORDINGS, CIRCULATION BOOKS, TECHNOLOGY, The Frances Clark Center for Keyboard Pedagogy & EDUCATIONAL EDITORIAL BOARD PRODUCTS Alejandro Cremaschi Barbara Fast Rebecca Grooms Johnson Midori Koga Scott McBride Smith Spring Issue 2021 Vol 13 No 1 / 1 CONTENTS

CELEBRATING 70 YEARS OF COMPOSING: An Interview with American Icon Eugénie Rocherolle

by Ernest Kramer 10

EXPLORE LEARN TEACH

6 EDITOR’S LETTER 32 NCKP 2021: SNEAK PEEK 18 HOW'S THE CONNECTION: Pamela D. Pike RELATIONAL ISSUES ONLINE 54 HEALTHY PLAYING, AND IN THE STUDIO 8 IN MEMORIAM: NELITA TRUE HEALTHY TEACHING: Professional Associations: Jessica Welsh 10 CELEBRATING 70 YEARS Your Indispensable Resource for 22 I WISH I COULD ANSWER THAT OF COMPOSING: AN INTERVIEW Musicians’ Health Information Catherine Kautsky WITH AMERICAN ICON Gail Berenson EUGÉNIE ROCHEROLLE 26 TEACHING THE TOUGH ONES: Ernest Kramer WHY IT'S WORTH IT Megan Reilly Shannon 70 QUESTIONS & ANSWERS Craig Sale

On the Cover: NCKP 2021: Performers, PedX Speakers, and Keynote Presenters

2 / PIANO MAGAZINE Visit plasticfilmrecycling.org to find a recycling location for your magazine’s plastic poly bag. CONTENTS NCKP 2021: SNEAK

PEEK 32 REFLECT PLAY DISCOVER

46 VOLATILITY, UNCERTAINTY, 16 ROCHEROLLE’S NEW ORLEANS 58 BOOK REVIEWS: COMPLEXITY, AND AMBIGUITY: SKETCHES: TEACHING TIPS FOR Where Are All the Black PIANO LESSONS IN THE “MASQUERADE!” Female Composers? VUCA ERA Pamela D. Pike and Why is My Piano Black and White? Brooke Balbuena 52 PUPIL SAVER by Nathan Holder 50 A PIANIST'S REFLECTIONS review by Vanessa Cornett FROM GERMANY 60 NEW MUSIC & MATERIALS Matt Rubenstein 66 RECORDINGS 68 LIFE IN MUSIC Jennifer Snow

FIND KEYBOARD KIDS ONLINE AT claviercompanion.com

Spring Issue 2021 Vol 13 No 1 / 3 EXPLORE CONTRIBUTORS

BROOKE BALBUENA GAIL BERENSON GEOFFREY BURLESON ELAINA BURNS

LEAH CLAIBORNE VANESSA CORNETT SCOTT CUELLAR CARMEN DOUBRAVA

MEG GRAY MITCH GRUSSING CATHERINE KAUTSKY ERNEST KRAMER

ALSO IN THIS ISSUE:

BETH BAUER DAVID CARTLEDGE GRACE CHOI KELLIE CUNNINGHAM

COURTNEY CRAPPELL JACQUELINE EDWARDS-HENRY JOANN MARIE KIRCHNER CHRISTOPHER MADDEN

4 / PIANO MAGAZINE EXPLORE CONTRIBUTORS

CHRISTOPHER MADDEN ELIZABETH MOAK PAMELA D. PIKE SARAH RUSHING

MATT RUBENSTEIN CRAIG SALE SUZANE SCHONS MEGAN REILLY SHANNON

JASON SIFFORD JENNIFER SNOW JESSICA WELSH ADRIENNE WILEY

ALEXANDRA NGUYEN JANI PARSONS NICHOLAS PHILLIPS JEREMY SISKIND

JANET TSCHIDA

Spring Issue 2021 Vol 13 No 1 / 5 EXPLORE EDITOR’S LETTER

Spring 2021 EMBRACING THE POSITIVE as We Emerge from our Pandemic Cocoons

PAMELA D. PIKE Editor-in-Chief and Chief Content Director

After the long, dark winter, springtime represents a time study independently, many of us crave the opportunity to for rebirth and renewal. Yet, as we head into the second step onto the stage and commune with the composer’s year of our new “pandemic” normal, many musicians music through live performance with other musicians and have grown weary of what they had assumed would be in-person audiences. Likewise, teachers will welcome groups temporary inconveniences—teaching online, physically of students of all ages and stages into their studios where distant performances, and time-shifted chamber music they can sit at the piano together. Within that shared space, experiences. I’m struck by how similar our forced isolation they will guide pupils as they explore technique, revel in the has been to the caterpillar transforming within its cocoon. glorious sounds produced at the keyboard, and learn to play From the outside, one cannot see the remarkable new repertoire. metamorphosis that is taking place within the protective shell of the chrysalis. While we have been holed up in our Beyond simply changing us, our time in the pandemic homes, we have been busy using every tool and scrap of cocoon has awakened us to new ways of teaching, information that we have previously and recently learned learning, and making music. I’m confident that we will carry about teaching, learning, and performing to transform with us many of the blessings discovered during our time of how we conduct these activities from our home cocoons. pandemic isolation. Even after we have returned to a semblance of pre-pandemic teaching and performing, We’ve used online video conference platforms to teach, many of us will: we’ve engaged our students in recording their own practice sessions and performances to become more active listeners • EMBRACE the “flipped classroom” (or studio) to share in their own homes, and we’ve found creative ways to easily accessible resources with students asynchronously, gather audiences for regular performances. No wonder we so that lesson time can be spent in meaningful exploration are tired—this hasn’t been a dormant wintertime rest—it of musical technique, interpretation, and music making, has been an active and productive period for many of us regardless of a student’s level. (though it may not appear so to the outsider). We’ve • EMPOWER our students to take more ownership of their made these accommodations out of necessity, but like the learning by recording and listening to their own mid-week butterfly, we will emerge from our pandemic cocoons performances before sharing them with us for between- forever changed—transformed for the better. lesson feedback. I am confident that we will, one day, return to the crowded • CONTINUE to stream recitals so that grandparents, concert hall to hear fresh new artists embarking upon their extended family, and friends can enjoy and celebrate the careers and masters continuing to refine their craft and musical performances of their loved ones. interpretations. Musicians will travel great distances to make music together and to convene at conferences to These are just a few of the positive changes that we may share ideas and learn from one another. I know that we will carry back to our face-to-face teaching in the coming return to some of our age-old ways of creating, sharing, months and years. Meanwhile, we continue to share best and making music together because music has to be made practices in teaching (online and in person) and pursue and shared with others and many of these methods have opportunities for our professional development via our survived the test of time. While some people are content to online music communities. The Piano Magazine continues to provide much needed resources.

6 / PIANO MAGAZINE EXPLORE EDITOR’S LETTER

BEYOND SIMPLY CHANGING US, our time in the pandemic cocoon has awakened us to new ways of teaching, learning, and making music.

In this issue, we share articles from teachers about how by providing a sneak peek of thirteen content-packed days they work with students who want decisive answers (when of specialized preconference scheduling. As always, you’ll interpreting a symbolic language left by composers find information about new books, music, and recordings from bygone eras), how they approach teaching difficult to nourish your musical spirit and teaching craft in the students, and how our interactions and personal coming months. relationship with our students have taken on renewed importance. We commemorate educational composer We hope that this issue of the Piano Magazine provides Eugénie Rocherolle’s birthday and celebrate seventy years ideas for your teaching, playing, and professional of composing with an interview about her career. And, we development as you emerge from the dark days of winter preview the National Conference on Keyboard Pedagogy, and your pandemic cocoon.

THE PIANO MAGAZINE: COLLEGIATE WRITING CONTEST

THE PIANO MAGAZINE IS PROUD TO SPONSOR THIS EXCITING CONTEST GRAND SHOWCASING THE TALENTS PRIZE OF TOMORROW’S TEACHERS!

Writers are free to choose any topic relating to the field Publication in a of piano pedagogy and write a 1,500 word article. forthcoming issue of Submissions must be received by May 1, 2021. the Piano Magazine.

Submissions should include contestant’s full contact information, university & degree program, and major GRAND SECONDARY professor. Submit articles using 12-point, Times New PRIZE PRIZES Roman font with double spacing. A panel of professionals PublicationPublication on in a the will evaluate submissions based on content, clarity, forthcomingPiano Magazine issue of originality, value to the profession, and writing style. the Pianowebsite. Magazine . For complete rules, regulations, and online submission form, visit claviercompanion.com/about/collegiate-writing-contest.

Spring Issue 2021 Vol 13 No 1 / 7 EXPLORE CAROLYN TRUE:

niece, former student, Professor IN MEMORIAM: of Piano at Trinity College Nelita True was a marvel. She was my dear, sweet aunt; she was my role model and mentor; she was my teacher for my masters, my doctorate, and my life. She was an incredible human being—always listening, caring, and interacting with everyone she met. From the moment you walked into her studio, you knew that Nelita was focused on you and your work together. She listened intently, she challenged you, she inspired you, she modeled for you— everything was focused on, as she would say, “teaching myself out of a job.” During lessons, Nelita was always playing with beautiful sound and intention. And if she wasn’t playing, she was tapping. You heard the sound of her heels on the plastic floor covering, the incessant clapping, willing you to be rhythmically precise. There are Nelita-isms that we’ve all incorporated into our teaching: “Go to there, and there, and there,” “p doesn’t mean soft, it means project!,” “Just dust the keys,” and we look for “Whee” phrases. We lived to hear her say, “Terrific, honey!,” “Now we’re cooking,” and dreaded the Nelita question, “is that the most beautiful sound you can produce?” We will always remember her musicianship, True her teaching, her grace, her infectious laugh, and her charm. The world is lessened by her physical absence, but her spirit will continue through her family and The world lost a legendary musician, pedagogue, and colleague her students far and wide. with the passing of Dr. Nelita True Laires on January 17, 2021. We are Nelita’s legacy. We honor her by In a 2010 Clavier Companion interview, Dr. True expressed, living our lives with integrity, love, and “I value deeply being part of the eternal continuum of teaching… respect. Strive for the most beautiful sounds you can make and challenge I simply cannot imagine a more satisfying role in life your students to do the same. Respect than that of teacher and being part of that continuing legacy.” one another. Listen intently to others Dr. True’s legacy will carry on in her students, in her —both their voices and their playing. artistry, and in the many hearts she has touched with her music. Ask questions. Respond to people with Piano Magazine honors Dr. True by sharing tributes kindness, elegance, and clarity. Retain a childlike curiosity about life and living. written by those who knew her well. Keep living, keep loving, and above all—listen. 8 / PIANO MAGAZINE EXPLORE We lived to hear her say, “TERRIFIC, HONEY!,” “NOW WE'RE COOKING”...

TONY CARAMIA: ALVIN CHOW:

colleague at Eastman School of Music former student, Professor of Piano at Oberlin College Of the many wonderful aspects of Nelita that I cherish, one Nelita True changed the course of my life. She taught me stands out: her boundless energy. It seems she never met about the magic of music and how it is our duty to serve as an elevator she wanted to use. In fact, when I interviewed vessels for communicating that magic to our audience. She at Eastman in 1990, she revealed to me a secret about the instilled in me the proper work ethic—the idea that learning undergraduate piano major degree—it actually took two and perfecting our art took time, discipline, intelligence, years, but the additional two years were spent waiting for and imagination. Everything Nelita asked me to do was the elevator! I tried to keep up with her as we bounded up challenging, but I never felt it was insurmountable—she the stairs to her studio. Funnily enough, when Fernando always made me feel I could do it! (her husband) joined the faculty a few years later, it was one of my daily joys to share an elevator ride with him, as we I began my lifelong journey to be exactly like Nelita almost traveled to our studios on the third floor. When I accepted fifty years ago—to be as talented, as smart, as articulate, as the offer to teach at Eastman, I spent the next thirty years witty, and as inspiring, with the highest personal standards. fervently trying to emulate her inexhaustible energy. In every way, I could never hope to rise to those heights, and yet I have achieved heights I never could have imagined without Nelita's guidance and example.

FUND FOR THE ADVANCEMENT OF MUSICAL ARTS

(FAMA) grants are designed to support a specific music education/outreach project. They are non-renewable and are not intended to support ongoing projects. New grant applicants will receive priority over previous grant recipients, and preference will be given to community projects that strengthen music education/music appreciation in the United States. All decisions of the committee are final.

Lana Bailey, Chair [email protected]

For more information visit The National Federation of DEADLINE: MAY 1, 2021 Music Clubs at www.nfmc-music.org

Spring Issue 2021 Vol 13 No 1 / 9 EXPLORE

Celebrating

70Years of Composing: An Interview with American Icon Eugénie Rocherolle

by Ernest Kramer

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Rocherolle’s impressive musical output over her long career is both broad and substantial. She has composed Eugénie Rocherolle is one a total of 678 individual pieces and 108 collections for solo piano as well as chamber music with piano. In of America’s most respected addition, Rocherolle has published some forty choral pieces, four band compositions, and a piece for flute and and beloved composers of piano piano. Finally, there are two unpublished works for chorus and orchestra, several unpublished piano works, and two repertoire. In addition to being musicals for the theater including music and lyrics. a fine pianist, she is also a Her list of publishers is equally impressive. They include Neil A. Kjos, Warner Brothers, Hal Leonard, Alfred Music, lyricist and teacher. She started Choristers Guild, General Words & Music, Theodore Presser, Sheet Music Plus, W-7 Music Corporation, composing in the early 1950s and M. Witmark & Sons. at the beginning of her high To celebrate and mark Eugénie Rocherolle’s marvelous seventy-year career as a composer, I recently contacted school years, and composing her to learn more about her life and work. She graciously agreed to answer several questions regarding her musical has always remained background, interests, and manner of composing. her main focus.

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Spring Issue 2021 Vol 13 No 1 / 11 EXPLORE

Ernest Kramer (EK): Eugénie, what are your earliest musical memories? Eugénie Rocherolle (ER): Classical recordings being played at home and hearing my parents perform together. EK: Were either your mother or father musical? ER: Both! While not professional musicians, my mother was a fine pianist, and my father had a beautiful bass baritone voice. EK: When did you become interested in making music as a child? ER: Early grade school. I used to pick out little things on the piano. I started piano lessons in fourth grade but didn’t like practicing nor the corny little supplementary pieces. I only wanted to play by ear, especially boogie woogie, taught to me by a friend of my parents. At the end of that year, I played on the student recital held in the school auditorium and included an original piece of mine. When my teacher announced that it was my work, she added that it was all my own doing and that she had not been involved in it. I don’t recall the piece and she never helped me write it down. I took lessons for that one year and then quit! EK: Did your early teachers recognize your burning interest in composition? ER: Yes! I was going through my high school yearbook from my 1954 senior year at St. Martin’s Episcopal School and was reading comments written to me from my classmates and faculty. The headmaster, Ellsworth O. Van Slate, wrote next to his picture: “Eugénie—I fully expect you to make your mark in the world of music. I will be watching your progress with interest. Good luck. Mr. Van.” I think he learned about my eventual career as a composer, but we were not in touch again. EK: How would you describe your educational background? ER: In ninth grade, I felt ready to start lessons again and returned to the same piano teacher, taking lessons in her home. I worked hard and won first place in the New Orleans Junior Philharmonic Piano Auditions. As a result, I performed on a concert where I played pieces by Kabalevsky, Khatchaturian, and MacDowell and included my composition Fantasia. I ended up performing Fantasia, my first substantial composition, on both local

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When I feel a composing urge come over me, I decide what style or mood I’d like to create and always begin with a left hand.

radio and TV stations in New Orleans where I grew up. head. I do remember that most of the pupils were American, I continued composing but worked entirely on my own, so she spoke English. I kept in touch with Mlle. Dieudonne teaching myself how to notate. A little trivia: I’ve noticed for a number of years, so she knew of my publishing career. over the years that young novice composers notate either with round notes like little balls or “stick” notes. Mine After I graduated college, I returned to Paris because I were of the “stick” variety. loved it so and wanted to continue my studies. I made an appointment with Mlle. Boulanger with the hope that I I eventually went on to earn a BA in music from could take some private lessons in composition with her. Newcomb College of Tulane University. I spent my junior I showed her a few of my pieces and she said they were year in Paris with courses at the Sorbonne and private very nice, but she recommended I return to the states, lessons in solfège with Annette Dieudonne and a class in get married, raise a family, and do my music on the side! music analysis with Nadia Boulanger. In my senior year, At the time, I didn’t feel too encouraged, but as it turned I composed the music for my senior recital: a piano work out, she was right—that’s exactly what I did, and I have which I performed; two vocal works which I performed absolutely no regrets! with a voice major; and a piano trio for piano, violin, and cello. It was performed by my piano teacher and two EK: Your music is so eclectic. Who influenced you members of the New Orleans Philharmonic. The violinist, the most? Ewing Poteet, who was also the music critic for the Times ER: My favorite composers! Chopin, Brahms, Picayune daily newspaper, spoke with my mother after Tchaikovsky, Rachmaninoff, Debussy, Ravel, and the recital and said how much he enjoyed my music. Gershwin! My compositional style is definitely traditional, He added “We’ll be hearing from her one day!” with emphasis toward the romantic and impressionist EK: What can you tell us about your studies with styles, with an occasional visit to the upbeat styles of Boulanger and Dieudonne? my native New Orleans. ER: I remember analyzing orchestral scores in Mlle. EK: What instruments do you play? Do you sing? Boulanger’s class, mostly contemporary composers such ER: The piano is my main instrument. Believe it or not, as Copland. I don’t recall what other composers she I even played the ukulele in high school! I’ve sung in included. This was my junior year and I had not had any school choruses since high school and even a few previous courses in analyzing scores, so it was way over my community choruses in later years.

Spring Issue 2021 Vol 13 No 1 / 13 EXPLORE

EK: Eugénie, how and when do you usually compose? ER: When I feel a composing urge come over me, I decide what style or mood I’d like to create and always begin with a left hand. This establishes the rhythm and some chord structure, which inspires a melody and from there I begin improvising and experimenting. Eventually this leads to the development of the entire piece. EK: Are there or have there been specific events, Play and analyze music, people, or things that inspire your compositions? ER: Oh yes! Cities, countries, traditions, genres, moods, preferably music that you forms (sonatas, sonatinas, theme and variations), like and relate to; do lots celebrations, and subject matter suggested by a title. EK: In your mind, who is your audience? of listening to stimulate ER: Parents; friends and relatives of students; people who enjoy civic programs; music club presentations. creativity; and try playing Now, with YouTube, I know I reach a large number of Rocherolle fans! by ear to develop a sense EK: Do you prefer a particular compositional medium? of rhythm and harmony. ER: Piano music or any combination of instruments that includes piano. I also enjoy composing orchestral and choral music. EK: Of which compositions are you the most proud? ER: There are several: Souvenirs du Chateau (piano solo collection), Blues Concerto (two piano, four hand), Jambalaya (two piano, eight hand), Century Music (piano trio), Trilogy (SATB chorus and orchestra), America, My Home (band and SATB chorus). Souvenirs du Chateau has a special meaning for me, as the titles of each piece portray an actual chateau in France, Chateau de la Rocherolle (1433). It came into the family in the late

Now, with YouTube, I know I reach a large number of Rocherolle fans!

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The violinist, Ewing Poteet, who was also the music critic for the Times Picayune daily newspaper, spoke with my mother after the recital and said how much he enjoyed my music. He added “We’ll be hearing from her one day!”

1920s when purchased by my husband’s paternal Our middle son, a businessman by profession, played grandfather because it had the Rocherolle name! alto sax in school. Our youngest son is a professional We have enjoyed many years of family gatherings there, drummer in Los Angeles who sings backup and creates including weddings and anniversaries. The music room the vocal harmonies for the bands. has a Pleyel concert grand piano. The Pleyel company was the family business of my husband’s maternal The only grandchildren who pursued music for a while great-grandfather, Gustave Lyon. He designed a new were our middle son’s children. I taught them piano when Salle Pleyel in 1927; for its inaugural concert, he they were in grade school into middle school. They didn’t programmed the works of Debussy, Ravel, de Falla, continue lessons in high school, but our granddaughter Dukas, Wagner, and Stravinsky with Ravel, Gaubert, does enjoy going to the piano and picking out tunes. and Stravinsky conducting. Robert Casadesus was She also plays the ukulele and sings. the soloist. EK: Eugénie, thank you for answering all of these EK: Are you currently working on any compositions? questions. In closing, what advice would you give to aspiring young composers? ER: Yes, a suite for one piano, four hands. ER: Play and analyze music, preferably music that EK: Tell us about your family. Do you have children you like and relate to; do lots of listening to stimulate and grandchildren? creativity; and try playing by ear to develop a sense of rhythm and harmony. ER: Yes, we have four children, seven grandchildren and two great-grandchildren. ERNEST KRAMER studied at the Vienna Conservatory, Our daughter and middle son live here in Connecticut, Peabody-Vanderbilt University, Drake University, while our first and third son live away, in North and the University of North Texas. He has taught at Carolina and California, respectively. All are musical: Northwest Missouri State University since 1985. He our daughter, a quilter by occupation, also sings and teaches piano, harpsichord, music theory, ear training, and composition. His music has been published by enjoys doing karaoke shows. Our oldest son, an Hal Leonard, Alfred Publishing, and Willis Music. independent contractor, plays guitar and sings.

Spring Issue 2021 Vol 13 No 1 / 15 PLAY Rocherolle’s NEW ORLEANS SKETCHES: Teaching Tips for “Masquerade!”

by Pamela D. Pike

Eugénie Rocherolle has written numerous compositions Similarly, movement and chanting exercises can be used inspired by the music and culture of her hometown of to help students alternate between straight and swung New Orleans. Many of these appealing pieces offer students (long-short) eighth-note passages. opportunities to learn about styles of music that permeate the parades and festivals in the city while developing Since students will need to voice double notes in the right important technical and musical skills. Her suite, New hand, before assigning the composition for home study, Orleans Sketches (Hal Leonard, 2015), provides six solos during the lesson teachers could isolate specific measures where students can revel in the sounds of New Orleans. and have students play the melody notes forte and legato Preparing our students to play these pieces ensures a while keeping the inner voice soft and staccato or while positive musical experience. shadowing the inner voice. Doing this activity in the lesson allows teachers to ask students if they are hearing a “Masquerade!” is the fifth, and longest, solo in the stronger melody and provide feedback before poor habits collection. In a quick cut time, it features a staccato, broken- become internalized. chord accompaniment against a right-hand part with some dotted rhythms, two- or three-note slurs amidst staccato The left-hand accompaniment imitates the brass jazz articulation, and double notes that need to be voiced to bands heard throughout New Orleans. Rather than playing bring out the charming melody. A sixteen-measure middle a typical bottom-middle-top-middle quarter-note broken section requires students quickly switch to swung eighth- chord, the left hand plays middle-top-bottom-top (with note rhythms before returning to straight rhythms. Cadence staccato articulation) much of the time. Students could be points often feature several variations on a syncopated asked to identify chords and block them before playing them rhythm (see Figure 1). Having students march to the as written. If students could watch one of the many online half-note pulse while tapping and saying rhythms before videos of second line parades, they would have an aural they work on the piece will allow them to feel and internalize model of the sound that the LH should imitate. the peppy, syncopated rhythms. Begin by having students Playing music from different cultures, including traditional march to the half-note pulse. Once established, American music, can be rewarding for students of all demonstrate and have them copy the rhythms of the first ages. Particularly if the musical tradition is not part of the measure (tapping each leg) as they chant fun words such student’s local or family heritage, listening to and learning as “Mardi Gras” to reinforce the individual rhythms of each about such music is an important part of the learning hand. Once they have repeated the first measure several process. Similarly, since some of the technical and musical times and can do it easily, move on to the second measure skills (including harmonic progressions and rhythms) and repeat the process. Students, whether in group or may be different from those required of classical individual settings, enjoy the activity and it prepares them compositions, sequential preparation is critical for success. for the rhythms they’ll encounter at each cadence. Movement and chanting activities help students to embody Figure 1: Sample movement activity for rhythmic pulse and rhythm before they encounter it on the page variations encountered in “Masquerade!” and appropriate practice techniques and drills with small chunks of music out of context prepare students for their independent practice at home. While not exhaustive, the above suggestions can prepare students to successfully learn and perform just one of Rocherolle’s charming pieces.

16 / PIANO MAGAZINE Piano Magazine Full Page.indd 1 1/28/21 11:30 AM TEACH RELATIONAL LESSONS ONLINE AND IN THE STUDIO

HOW’S THE CONNECTION: Relational Lessons Online AND In the Studio

by Jessica Welsh

18 / PIANO MAGAZINE TEACH RELATIONAL LESSONS ONLINE AND IN THE STUDIO

and ultimately thrive—even during the chaos of a pandemic. “Can you hear me? Many of these principles apply to in-person teaching, as well, and may simply be considered solid pedagogical How’s the Connection?” practices. In the context of online teaching, however, These are words I have spoken countless times over I find them non-negotiable in keeping lessons fresh, the last ten months as I have adapted to the realm musical, and motivating. These ideas are not exclusive to of online piano teaching. Some days lessons flow me; I have observed many of my own teachers beautifully seamlessly without incident or interruption, and I feel modeling these values in their own teaching. inspired, confident, and extremely proud of my students. Other days, I struggle to communicate a simple point Pleasantries first. as network connections falter, audio glitches fragment While a student enters my home studio, takes off shoes, sentences, and I feel one hundred percent tired of and washes hands, I have a natural opening to check in bringing two hundred percent of my energy to a screen. on his or her week, and relate on a casual level, individual And yet, if this is our new normal for the foreseeable to individual. Online teaching makes it far too easy to future, perhaps we need to keep asking the question, skip past the pleasantries and run the lesson as a business “How is the connection?” No, not the technological, meeting agenda. Take a few moments at the start of a cyber-space one, but the personal, relational one. lesson and inquire about your student’s week. Make a Every teacher I know has exhausted his or her time and point to remember important events like birthdays and resources to create the best possible online teaching holidays or school exams and major deadlines. This environment for his or her students. I have seen countless shows students we care about them and not just about workshops, blog posts, and Facebook conversations on their musical abilities or progress; it sets the tone for a the best microphones, software, and web cameras for lesson that functions as an exchange of ideas, rather online teaching—many of them incredibly timely and helpful. than a teacher-dictated information firehose. I wonder, though, if these conversations have overlooked Next, share highs and lows. the most fundamental, age-old, and arguably most I regularly ask students about the best and the most lasting facet of teaching: the relational aspect. At a difficult parts of their weekly practice. Their responses time when many schools are still meeting virtually and provide me valuable insight into what they practiced, children have been unable to socialize with friends, how much they practiced, and what they consider forging personal connections with our students is vital success. If my student worked hours on a sonatina but to their growth and development. did not progress as I expected, this tells me I need to better prepare my student for effective practicing When our students look back on their childhoods or or redirect his or her efforts—a much different scenario college years and think of piano lessons amid a pandemic, than if I simply thought he or she did not practice. what will they remember? What do we hope they will On a more global level, specifically creating space for remember and take with them into adulthood? students to share their “lows” acknowledges that For me, the answer is simple: I want my students to teachers understand the challenges of piano study, remember that I connected with them on a personal too, and don’t expect it to always be rosy. level. Not at the expense of music making or excellence, but at the center of our shared musical pursuits. Third, let the student pick the starting piece. I frame this with a question, “What are you most excited What if the single most important thing we do this year to show me this week?” Again, the response speaks volumes. as teachers is simply connect with our students? Not only is this enjoyable for students who are excited From this simple starting point, we can nurture our to show their progress on a specific piece, but this also students both as individuals and musicians. As I have transfers the onus of responsibility to the students at the reflected on the frustrations of internet connections and onset of the lesson, setting the tone for increasing student internet overloads, I have also reflected on what makes responsibility throughout. Does the student seem my most successful online lessons come to life. Below disinterested in making a selection? This also speaks I will share ten principles that have enlivened my own volumes and encourages teacher reflection on studio and have helped my students and me connect— repertoire selection, as well.

Spring Issue 2021 Vol 13 No 1 / 19 TEACH

Model. responsibility to encourage students to find their own I can’t overstate that students need to hear quality perfor- creative voices and analyze their own performances mances, live and in person whenever possible. At a time without teacher prompts. Online teaching creates when many have lost the privilege to attend concerts and a natural space for fostering independent thinking recitals, we must go above and beyond to give them as and creativity. many aural examples as possible. I’ve found I can be quick to fall into the trap of over-explaining, when in fact the best explanation is sometimes my own performance of a section or skill. “Playbacks” work surprisingly well on an online format and save valuable time. Additionally, I enjoy asking students to listen to several recordings of the same work, share their observations, and choose a favorite. WE HAVE A Encourage imagination. RESPONSIBILITY TO At times, the sound quality will be less than desirable, and even our most beautiful modeling will fall short on encourage students to the student’s end. This is where descriptive language can enliven a performance. Are we so concentrated on find their own creative checking notes and rhythms that we neglect the musical goals? What is the character of the work, and how voices and analyze can the student set the atmosphere from the first note? their own performances Why does the composer write forte or ritardando here? How does this add to the narrative? We have a WITHOUT TEACHER PROMPTS.

Pay close attention to body language. Perhaps the greatest difficulty I have found in online teaching is accurately judging my students’ attitudes and feelings during the lesson. Eye contact is limited, I am restricted to a single-angle viewpoint, and vocal inflection is less distinctive. A few months ago, a student and I were working at a fast pace in small sections on a difficult passage. I pushed her to continue on at this pace until she turned to the camera with tears in her eyes and voice shaking, totally overwhelmed—even though from my perspective she was successful, simply modeling excellent, focused practicing. I was blindsided. Had this lesson been in person, I feel I would have noticed “distress signals” much sooner and given her more time to process. From that point on, I have worked diligently to notice what my students’ body language is communicating. Do they look stressed, discouraged? Confident? Fidgety or disinterested? How might this change my approach in any given moment? Conversely, what does my own body language communicate? Does my “thinking face” appear disapproving? Or does my expression invite collaboration?

20 / PIANO MAGAZINE TEACH

Spend time practicing together. Touch base. It’s no secret that practice makes permanent. Online Lastly, the online platform invites a “revolving door” lessons give us a unique opportunity to see students in atmosphere into the studio. If I felt a student and their own environments, working at their own instruments I did not connect well or that the assignments were as they do every single day (we hope!). In this way, there is unclear, I make a point to reach out to parents and simply less of a disconnect between the lesson and at-home check in on their family. Frequently a parent’s response practice. I frequently ask students to show me how they reveals there was something unrelated to piano study practice, as this experience is informative for both teacher at play during the lesson. Other times, the parent reveals and student. It provides a launch pad from which we can that his or her child is struggling with practice, and this discuss what is working and what still needs to change. information helps me reevaluate my own methods and Perhaps more importantly, it allows students to identify make changes to fit my student’s need or life stage. the strategies needed to affect change and shows me Some students thrive on sending me video updates where their “practice toolboxes” need to be restocked. mid-week, or questions via text and email. Each teacher As they continue to troubleshoot independently, we as needs to find his or her comfort level with this and set teachers can begin to take a backseat role. More than boundaries necessary for self-care. A quick email to anything, this ensures that the skills have taken root and invite the student and his or her parents into a dialogue will flourish under the daily task of effective practice. goes a long way in creating a safe and caring atmosphere in which students can thrive. Let the student set the goals. After we practice together, I like to leave space for my So how are our connections? Are they strong, one-sided, students to set their own goals for the week. This often or hanging by a thread? No matter what the state of the launches a brief discussion about form and helps students world is, we must always evaluate our interactions with to identify key areas, chord progressions, repeated students. But at this point in time, when the world is patterns, and necessary practice techniques. These fragmented and disconnected, it has become essential. goals should be as measurable and specific as possible. As we adapt our methods and platforms, may we also Sometimes they begin simply as, “Play measures 1-16 reflect and dig deep into the foundational elements of hands together,” but I encourage my students to further our teaching. Join me in the pursuit of our students in describe how they want to play these sixteen measures. these remarkable times. Let’s aim for strong connections Envisioning this success is the first step toward achieving …even if the internet connection is unstable. it, and the more precise the goal, the more the student will take the individual responsibility for achieving it. We refine the goal together until it reads something resembling, “Play measures 1-16 hands together without pause and with eyes up at quarter note = 80.” Lastly, the online Summarize. platform invites a The close of a lesson is like the benediction of a liturgical service. This is where we send our students, even if only “revolving door” atmosphere figuratively. This “sending” must include a final charge, an encouragement to affect change, and space for into the studio. questions and clarification. What are the “big ideas” we want our students to remember this week? If we don’t know, then surely, they can’t be held responsible for them. With young students, these moments might include inviting a parent into the lesson space to hear a favorite piece or review the week’s goals. Ending with success, clarity, and an action plan—all of which the student has JESSICA WELSH, NCTM is completing a D.M.A. at Texas Christian University. She has been a featured presenter at demonstrated independence in or contributed input national conferences and has been published by American about—is imperative for keeping students engaged in Music Teacher and The Keyboard Magazine. She operates a the online format from week to week and committed private studio in Dallas, Texas. to daily practice.

Spring Issue 2021 Vol 13 No 1 / 21 TEACH

I WISH I COULD ANSWER THAT

By Catherine Kautsky

I’m fascinated by the attraction my students have to absolutes and their aversion to the vast distances in-between. And yet, life, musical and otherwise, mostly takes place in the cracks. Most of us neither run nor crawl as we move through the day. We neither spit out words nor smear them. We don’t whisper as a matter of course, neither do we habitually shriek. But what we do in-between is infinitely varied.

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Playing the piano can mean searching out middle Don’t some notes travel, preferably airborne, while others ground, and that ground may be similarly ill-defined, sit and settle in? Teach solidity and you achieve stolidity. well-nigh slippery, or even mired in paradox. Let’s Teach flight and you achieve flightiness. “Into the keys” start with the easy examples. I’m not sure that it’s is great advice that can easily leave you stuck at sea, no particularly more difficult to play non-legato than wind, while without it you’re simply unanchored. staccato. But a portamento passage is a dreaded occurrence in the life of my students. Maybe they’re How about dynamics? Start with soft. The obedient so wedded to notation that staccato dots send their student obliges. But then they’re told that p stands not hands flying even when accompanied by slurs? just for piano but also for “project.” How can that be? Isn’t Whatever the reason, this particular gray area eludes soft actually soft? Depends on the hall, the instrument, them with astonishing consistency. the context. And then there’s the inevitable confronta- tion with further variants: p, pp, ppp, pppp. For the likes Likewise, pedal is all or nothing. Tell a student that of Schubert and Debussy, soft is where life begins, strays Debussy liked the pedal, and you may say goodbye to and explores; it is anything but a single landing point. hearing the notes he wrote (which he presumably also My poor students who want answers get quests they liked). Or ask for clarity in Mozart and perhaps bid adieu never requested. to color and resonance. If the student were operating a vehicle, I fear they’d either be stalled or winning the I’ve left the worst till the end—although Grand Prix—no speed limit variants available. I fear there’s more than one worst and a And articulation and pedaling are relatively straight- rapidly growing “end.” We like to think forward. At least a half pedal is a quantifiable entity; that musical grammar is comparable to the one can feel its tangible existence and measure depth. And non-legato can be simulated by playing a succession grammar of language: commas, periods, of notes with one finger, aiming diligently to connect paragraphs, chapters. though prevented from entirely doing so by the requisite lift. These things can be taught. This is all well and good when a phrase or period is willing to happily announce its closure. But what about the notes But how does one teach a student that evenness is both that are both beginnings and endings (Bach’s specialty, a cherished goal and a mark of humdrum mediocrity? though other composers happily follow suit)? Written and That a string of eight eighth notes needs to be even— spoken sentences have the good grace to end with finality; while, at the same time, infinitesimal variations in musical phrases are far less cooperative and frequently length are a lifeline to musical speech. elide. How does one tell a student that they must hear a note as both a start and a finish? How can they hear in Then there’s touch. I was told as a student “Play into two (contradictory!) ways at once? the keys; make every note solid.” Piano 101. But really?

Every note we play is fated to die. And yet our job is to keep it alive.

Spring Issue 2021 Vol 13 No 1 / 23 TEACH

I do want my students to aim for exactness, and I want them to care about every detail. But I also want them to love what they’re doing, to forgive themselves mistakes, and to regard performances as celebrations rather than examinations.

In addition, sentences have the good grace to appear one For that we need to invoke open ears that cherish the at a time. But musical lines can pile up vertically as well tiniest of distinctions, a lifetime of attention to singers as horizontally. And when they do, we try desperately to and string players whose instruments resist mechanical hear each one independently despite their simultaneity. sameness, and genuine love for the infinite variety and But what about the composite they form? That too must subtlety of sound rather than the simple pleasure of its be given its due. Notes are once again cast in multiple blatant existence. In the end we’re talking about listening— roles, and, again, they play these roles all at once. Words with care, attention, and joy. And our well-worn verbal are simpler creatures; except for puns, they generally instructions are a paltry guide to the complexity of the mean one thing at a time. world we’ll encounter. And finally, what about rhythm? One might hope that In a related, though separate, topic, our instructions on its reliance on numbers would guarantee a modicum of performance are equally flawed. We tell students not to clarity. No such luck. Play rhythmically, of course—but feel judged, that music isn’t about humdrum correctness, don’t show beats. Oy, weh! Isn’t rhythm made up of that memory slips are just a tiny bump in the road when beats? Again, the truth hides in apparent contradictions. one plays from the heart. And yet… we hold “juries” One hates to hear a concert where one hears that which are surely so named because they entail judgement someone isn’t counting, and one hates to hear a concert and can be failed as well as passed. We encourage where one hears that someone is counting. competitions where imperfect performances and performers are eliminated and the tiniest of slips can Perhaps we’re doomed, for the very worst of contradic- cost a prize. And in our hearts, despite disclaimers to the tions exists in our recalcitrant instrument itself. Every note contrary, we know that memory slips, at least major ones, we play is fated to die. And yet our job is to keep it alive. can seriously affect a performance. Our assurances that In the end, we must defy not just logic, but physics. self-expression trumps precision ring hollow; we want No wonder our students are dazed. They’re being asked both, for an art so anchored in the search for perfection for smoke and mirrors, and they wanted a single truth. can’t fail but recoil at its absence. They wanted to measure and achieve success. I struggle Where does that leave us as teachers? In muddy waters! to give them the clear answers they crave—try this met- I do want my students to aim for exactness, and I want ronome speed, work that number of hours, label chords, them to care about every detail. But I also want them to practice dotted rhythms, position your elbow here. love what they’re doing, to forgive themselves mistakes, I write it all down, and they gift me with a practice log and to regard performances as celebrations rather than detailing their diligence. But we’re searching for the examinations. They can’t help but know that if an wrong kind of recipes—we need the kind that specifies audience can approve, it can also disapprove, that an a pinch of this and handful of that, taking delight in art with right notes must have wrong ones as well, that precisely its lack of precision. a beautiful tapestry with a hole in the middle is less beautiful than one that’s intact. And yet I want them to forget all that—sometimes.

24 / PIANO MAGAZINE TEACH

I have no clear answers. How could I in our undertaking, we too will make of our “muddy” waters an affirmation. Our answers won’t be pristine and when this is an article proclaiming their clear, but, we, like those worshippers, will simply keep at it; lack of existence? I do have a positive permanence and perfect clarity are not the way of image to leave you with, however, which the world. is delightfully off-subject and celebrates, rather than denigrates, mud! CATHERINE KAUTSKY, Chair of Keyboard at Lawrence Conservatory, has performed on six continents At a pre-COVID exhibit at the Metropolitan Museum in and is author of Debussy’s Paris. She is a popular New York, I watched a video on the annual refurbishing presenter, is the winner of the Lawrence Excellence in Teaching Award, and is currently recording lecture- of the Great Mosque of Jenne. It showed thousands upon recitals for Great Courses. thousands of community members coming together to cover their mosque with a layer of mud, which, over the coming year would bake in the sun and protect their sacred space. The ceremony would be repeated the following year. Perhaps that’s how it is with us—we’re working with mud in our own sacred space. That mud is messy and it won’t be pinned down, but if there’s enough joy in our coming together and enough reverence

THE FRANCES CLARK CENTER

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Spring Issue 2021 Vol 13 No 1 / 25 TEACH

When I was a kid, I wasn’t the best student in the class. I certainly wasn’t the smartest, TEACHING and I was terrible at tests—which made school very hard for me. My mother tells me THE TOUGH that, until the third grade, I had a terrible time processing. For some reason, this included ONES: music. You see, I started piano lessons at the age of six, the “standard” age. But apparently WHY IT’S I couldn’t read anything—books or music— until third grade, when suddenly everything WORTH IT clicked. And here I am. A piano teacher. A fine, accomplished musician. And in my eyes, I have found success—despite possibly BY MEGAN REILLY SHANNON being described as a difficult student in my very early years.

WHO ARE THE TOUGH ONES? WHY SHOULD WE TEACH THEM?

First of all, let me change the wording. Again, answer the question before you continue reading. Here is why I teach these students and why they are some Who are the challenging students? of my favorite students. Answer that question before you continue reading. Because they need it the most. I think all of us might have a slightly different definition of a challenging student. It may be the student who patters That’s it. you with questions the second he walks in the door. It may Let me give you an example. Frank (not his real name) be the student who questions every single thing you try to is a six-year-old beginner who started kindergarten this teach her. It may be the student who doesn’t practice year. He has two siblings, and kindergarten is really hard much or, even better, refuses to practice the way you told these days. Frank started piano lessons with me this past him to. (Wait: Doesn’t this describe most students?!) August. I could tell right away he was going to be some- Or, maybe it is the student who doesn’t catch on quite as what of a challenge, but I wasn’t prepared for how much fast as the “smarter” students. Or, the student who, in I would learn from Frank. After a few lessons, I began to order for her to grasp every concept, needs you to adjust get some pushback from him. Then there was the lesson the way you teach. Or, it might be the student who has where he wouldn’t do a single thing I asked. At one point, recently been diagnosed with ADHD or autism. toward the end of November, he just completely shut Now that we have attempted to define the challenging down—dug in his heels and stayed there. That was when students, let’s answer the next part. I decided to have a conversation with his mother. As it turned out, school was becoming difficult. Frank was a perfectionist, and if he didn’t accomplish everything perfectly right away he became frustrated. Piano was getting harder, and Frank was having a hard time with that. Here is what I did:

26 / PIANO MAGAZINE TEACH

1. I talked with his mother—a lot. 3. I changed my expectations.

This is number one. Open communication with a parent Frank is different than, well, everyone else. Not because is key to keeping challenging students in lessons and of the challenges he gives me, but because he is unique. possibly helping the student become less challenging. To help him learn, I soon realized that I had to change how I taught. I changed my expectations of how many 2. I let him be in charge. pieces he would learn in a week, how long it would take him to finish a unit, and even how “perfect” each piece Yes, you read that correctly. I let him take charge of his would become. I realized I had to let him decide when to lessons. By giving him some of the reins, he felt he had move on—without compromising how well he knows the control of at least one part of his day. Frank spent the skills that I, his teacher, believe he needs to learn. entire day with everyone telling him what to do, and this was in addition to his struggle to be perfect. His piano By employing these three strategies, Frank’s lessons lesson was yet another place where, in his opinion, a have turned around completely. At the time of writing controlling adult was dictating his every move. So, in each this article, he has had two stellar lessons in a row. He is lesson I alternate between “Frank’s choice” and “Teacher’s comprehending concepts and is enjoying his lessons. choice.” I give him two options and he chooses the one Instead of crying, he is happy and leaves with a giant he wants to do. He always gets to choose how we start smile on his face. He even left one day saying: the lesson. It works every time. “I just LOVE piano!”

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Spring Issue 2021 Vol 13 No 1 / 27 TEACH

SUZANNA JOHN Suzanna is one of my favorite success stories. Finally, there is John. John has autism. To say he is one She became a student of mine after taking lessons of the most intelligent children I have ever met is no from someone else for a few years. When she came exaggeration; his aptitude for numbers is at a genius to me, she was in a constant state of wanting to quit. level. However, this is the biggest challenge for me. Thankfully, her parents wanted her to continue and Even though John is high functioning, I still need used bribery—and other things—to keep her in lessons. to modify my teaching. Here is what I do: So this is where I entered the picture. 1. Clear communication The first thing I did was establish open lines of communication with her parents. Then I talked with Suzanna. I can be wordy—well after I have made my point. That’s it. I talked with her. I tried to find out what she This doesn’t work for John. My sentences to him need enjoyed in life and in piano lessons. I asked a lot of to be clear and concise—no imagery or anecdotes. questions. Then I let her help choose her repertoire. Using a book at a slightly easier level than her method 2. Routine book, I played three pieces and let her choose which one she wanted to play. I describe the first two years of lessons With John, working through the method book is best, with me as being on life support. However, by the end of we go page by page. If I try to veer away from this the second year, Suzanna went from learning two pieces process, he gets very upset. Because repeating things can in one year to mastering fifteen. make him upset, I let him know ahead of time how many Now, three years later she has already learned fifteen repetitions are needed. Knowing this information pieces and plays in her school’s jazz band. She loves to and having a concrete goal helps him. play the piano, and it has been more than a year since she asked to quit. 3. Discipline chart and tallies

In the beginning, John had many discipline issues. He talks a lot and constantly asks questions. Instead of doing what I ask, he wants to doodle on the piano. He is wiggly and sometimes has problems sitting on

Figure 1: STICKER CHART AND TALLIES. Monday Feb. 1

Learn Sight reading Theory Technique Review Songs: Dromedary Rainbow Masked Cards Dance Colors Rider

Tallies for listening to directions, posture.

28 / PIANO MAGAZINE TEACH

the bench. As mentioned earlier, communication COVID has changed things for us, but the relationships with parents is important. John’s mother told me I have with each of these students and their parents they use tallies at school. Every time he did some- have kept these students enjoying and thriving in their thing he was supposed to do, he received a tally. lessons. I hope that keeping our lesson routine through I took it a step farther and devised this chart the pandemic helps them cope—I know it helps me. (see Figure 1). These students are three of my favorites. Like so many John gets a sticker when he accomplishes a lesson students, they each came with a special set of challenges. task and a special sticker at the end of the lesson if They stretched me and made me a better teacher. everything on the list is accomplished. By working So the next time you have a student you just want from this chart, John has both a goal and routine to give up on, think again. Maybe you both will built into the lesson. He loves counting the tallies grow through the journey. at the end of his lesson, and we have a productive lesson every time. MEGAN REILLY SHANNON, a native of Athens, OH, currently resides in Baton Rouge, LA, where she teaches COVID UPDATE a full studio and preschool music. Megan holds M.M. degrees from both Ohio University (Piano Pedagogy) I wrote this article two years ago and recently came and Arizona State University (Collaborative Piano). back to it when I summoned the courage to submit it for possible publication. That time happened to be now—in the middle of a pandemic. I have been teaching online since March. These three students are still on my roster and have continued lessons through the pandemic. Here are brief updates on these special students: Frank has improved so much. Online lessons are tricky; he still gets upset when he can’t succeed right away, though he is learning to control this. For his online lessons, I asked his mother to help when needed; she is always in the background and able to come to his aid. I give him less to do and PRIZES: slow the pace of the lesson. To break things up, $1,000 I also employ a lot of games and online activities, $500 and we still do “Frank’s choice.” I am happy to say $300 he still enjoys his lessons and is progressing. Sept. 10-11, 2021 Suzanna is now a high school freshman, and when the pandemic hit she had a challenging time. Online schooling proved difficult, her grades dropped, Sherer Violin & and she felt she couldn’t manage online piano lessons with everything else. Additionally, her Piano Competition entire family was home and she felt self-conscious. They requested a small hiatus, which I granted. She resumed lessons in June, and I am confident she will continue. Other than lessons being online, I did not change much for John. I considered being creative with his lessons—even having him notate a piece he wrote, but he did not want to do this. Sticking to the Learn more at: goshen.edu/sherercomp lesson routine is best for him.

Spring Issue 2021 Vol 13 No 1 / 29 NEW! The Piano Adventures® Teacher Atlas for 2021

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33 / Diversity Wellness Research Spring Issue 2021 Vol 13 No 1 Spring Issue 2021 Vol PEEK Technology Teaching Adults Teaching Inclusive Teaching Inclusive Creative Music Making Creative Collaborative Performance Collaborative Independent Music Teachers Independent Young Musicians: Birth Age Nine to Young Career Development and Innovation Development Career Latin America and the Iberian Peninsula Teaching Education in Higher Education Education Teaching LEARN TUESDAY, JULY 27 JULY TUESDAY, SATURDAY, JULY 24 JULY SATURDAY, 26 JULY MONDAY, FRIDAY, JULY 23 JULY FRIDAY, WEDNESDAY, JULY 21 JULY WEDNESDAY, 22 JULY THURSDAY, TUESDAY, JULY 20 JULY TUESDAY, SATURDAY, JULY 17 JULY SATURDAY, 19 JULY MONDAY, FRIDAY, JULY 16 JULY FRIDAY, WEDNESDAY, JULY 14 JULY WEDNESDAY, 15 JULY THURSDAY, TUESDAY, JULY 13 JULY TUESDAY, LEARN

Of course, no preconference day would be complete without a celebration of the music itself! Would it surprise you to hear that Debussy’s Children’s Corner (1908) is closer to Beethoven’s Für Elise (1810) than to music written today? JULY 13, 2021 It’s true! And it’s our job as teachers to help introduce students to the music of the last few decades that are sure to become the classics of the future. We’ll delve into the music of Black composers with an emphasis on finding music Independent for students at a variety of skill levels. We’ll learn how to incorporate non-Western traditions into our teaching, Music Teachers bringing together musical traditions from India, Asia, Africa, and the Americas. No matter how full your shelves are at Preconference home, we guarantee you’ll find some new gems to add to your teaching repertoire. By Jason Sifford At the end of our day, we welcome you to relax with a lecture- recital on one of the most beloved pedagogical composers The Independent Music Teachers Committee is proud of all time, William Gillock. Marvin Blickenstaff, Rebecca to raise the curtain on this year’s National Conference on Pennington, and the faculty at the New School for Music Keyboard Pedagogy. Our committee was tasked with Study will present the composer’s Lyric Preludes in a lecture- putting together a slate of preconference sessions that meet recital format. Practical strategies for teaching the pieces the needs of the modern piano teacher. To accomplish will be presented alongside performances of each of the this, it was important that our committee represent the wide preludes, so grab a notebook, pour yourself a drink, and variety of situations in which teachers across the country settle in for an informative and inspiring concert! find themselves. We come from a variety of geographical, ethnic, and cultural backgrounds. Many of us have “portfolio” careers, earning our income from a variety of different sources. Some of us own and operate our own small businesses while others of us work as independent contractors or sole proprietors. While none of our working lives look exactly the same, all of us are united in a similar JULY 14, 2021 goal—to bring the gift of music to new generations of musicians. We begin our day with sessions that explore the ways in Teaching Adults which we help students navigate their musical lives. We’ll learn about creating engaging, interesting spaces—both Preconference in person and online—that provide a nurturing and stimulating environment for students to flourish. We’ll By Jacqueline Edwards-Henry explore the realm of performance, from the traditional recital experience to new approaches aimed at helping students tell their own stories. And we’ll hear from teachers The Committee on Teaching Adults is proud to present across the country share the lessons learned as they’ve a preconference track entitled “Adult Students, the Now helped students through this difficult year. Frontier.” Learning to play the piano, resuming piano study, or continuing to refine skills is becoming increasingly popular Next, we offer a pair of sessions aimed at helping you with adult students of all ages. Perhaps now, more than ever develop and expand your pedagogical toolbox. We’ll hear before, adults are realizing the value of including piano study from experts about the benefits of rote teaching in the studio. to their list of hobbies or stress-reducing activities. Despite (Spoiler alert—rote teaching doesn’t hinder reading, it the pandemic, some piano dealers are experiencing an enhances it!) And in a world where students are increasingly increase in sales of digital and acoustic pianos; and, eager tied to touch-screens, we’ll learn some new ways to help piano enthusiasts have been gifted with a plethora of videos them understand their bodies and develop a fluent, on YouTube to help them learn or refine skills. Indeed, now is healthy technique. the time to add adult students to teaching schedules.

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The Teaching Adults preconference track will pose and respond to a series of questions designed to benefit piano teachers, regardless of the level of experience with adult students: Who are they? Why teach them? How do we teach adult students? How do we teach adult students in groups? JULY 15, 2021 Who are they? Dr. Pamela Pike and Dr. Thomas Swenson will help participants appreciate the difference between pedagogy and andragogy, and the very different needs of Inclusive Teaching a 30-year-old adult student versus an 80-year-old adult student. Preconference Why teach them? Adult students of a variety of ages and By Beth Bauer skill levels will share their experiences with piano study and the impact of piano study on their lives. Teachers will articulate the joys and challenges they have experienced This year’s preconference sessions on Teaching Students with adult students, and the value of working with adults. with Special Needs will be held on Thursday, July 15, 2021. How do we teach adult students? Demonstrations of what Dr. Cherise Miller, independent studio owner, will kick-off works with adults at a variety of ages and backgrounds—the the event with the keynote session “Undefined by Hearing tried and true, and the pandemic new! Loss, My Career in Music.” During this session, Dr. Miller will present how progressive hearing loss since age nine How do we teach adult students in groups? This session will has influenced and affected her ability to play and teach help participants gain a better understanding of the benefits the piano. of studying piano in a group setting: Recreational Music Making (RMM), face-to-face and virtual piano classes, and The first main session will feature doctoral student partner lessons. Jasmine Harry, who will present the session “Music, Autism, and ADHD: Successful Strategies and Resources for Finally, participants will have the opportunity to pose their Music Educators.” This session will be especially helpful own questions and share their own success stories during the for teachers seeking specific strategies and techniques for closing Cata-tonic, Virtual Happy Hour. Randomly mixed students with special needs. This will be followed by a Parent break-out rooms will help create the experience of relaxed, Panel, a group of parents who have sought out inclusive small-group discussions while enjoying favorite snacks and learning opportunities for their children. This moderated beverages of choice. And no worries if furry friends photo- panel will be a forum for parents of students with special bomb the computer screen—they’re welcome!

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needs to tell us what they desire in a music experience for for learning developmentally appropriate practices and their children and what they need from teachers. activities, we hope teachers can more confidently integrate experientially based activities such as whole- The third session is by music therapist Dr. Michael Thaut, body movement, singing, improvisation, meaningful rote who will present “The Brain that Engages in Music is learning, self-expression, responsive listening, experiential Changed by Engaging in Music.” Dr. Thaut will show learning, and music play into their teaching. Similarly, by how applied music learning affects the brain and understanding the difference between “piano play” versus associated neuroplasticity. A second music therapist, “piano study” and what is appropriate when, teachers will Azuza Higotani, will present “Perspectives on Music and be better equipped to help parents adjust their expectations Human Wellness: Stories from Hospice.” She will explore of lessons for young musicians. relationships between music and human wellness by merging her experiences as a music therapist and music We invite teachers of all levels to participate in this year’s educator. The final session will be “Keys to Autism: preconference day. Even if we don’t teach young children, Out-of-the-Box Techniques for Out-of-the-Box Students,” understanding how young students learn music can presented by independent studio owner Connie Wible. transform our teaching! Numerous principles for developing The preconference day will conclude with an interactive young musicians apply to all levels of music instruction. panel featuring all speakers and members of the Unquestionably, the interactive sessions will provide conference committee for Inclusive Piano Teaching. valuable strategies for successfully transitioning students from early childhood music to study on an instrument. The NCKP Committee for Special Needs includes Dr. Beth Our incredible line up of presenters promises to revitalize Bauer, Dr. Melissa Martiros, Dr. Scott Price, and Dr. Derek even the most experienced early childhood music specialists Kaelii Polishuk. We look forward to seeing you this year! and teachers of young musicians. Most importantly, an emphasis on building professional connections with presenters and attendees will provide needed support as we prepare for another year of growing young musicians. The Theme for the Young Musicians Preconference Day is “Setting The Stage—Strategies for Developing Young Musicians” where we will answer the questions: JULY 16, 2021 Why - When - How - HELP!! WHY: Teachers of all levels will be inspired by Linda Fields’ Young Musicians: presentation answering why setting the stage for a lifetime of music making starts with early childhood music and movement. In twenty brief lessons, Fields will convincingly Birth to Age Nine demonstrate that all we need to know about artistic teaching Preconference and performing, we learn from early childhood music. WHEN: Next, the question of when to begin music By Janet Tschida with children will be addressed with Joy Morin’s fascinating presentation highlighting her daughter’s first year. In addition to gaining insights that can transform our The Young Musicians—Birth to Age Nine Committee pedagogy of young learners, seeing videos of her daughter’s desires to cultivate an excitement for nurturing young experiences and hearing her research will enable us to musicians into lifelong musicians by creating a strong more effectively communicate the value of starting early network of teachers and developing philosophical and childhood music from birth. practical resources. Building a community of teachers that significantly expands the overlap of proficient piano HOW: After answering the questions of why and when, instructors with excellent early childhood music specialists the how will be explored through interactive workshops has the potential to revolutionize our approach of teaching presented by Wendy Valerio and Amy Rucker and piano to young musicians. As our network grows, we an activity share sponsored by the Young Musicians specifically endeavor to support teachers aspiring to Committee. We will experience activities that foster implement an aural/experiential approach as the pathway internalization of musical concepts by creating deep to literacy for young musicians. By offering opportunities connections between the ear and the body. With a focus

36 / PIANO MAGAZINE LEARN on playful moving, listening, breathing, singing, rhythm chanting, coordinating, and creativity, we will learn effective techniques for guiding our students to independent JULY 17, 2021 musicianship. By capitalizing on a young child’s natural responses to music, our approach Creative Music Making to teaching beginning pianists in group or private instruction Preconference will be rejuvenated. By Jeremy Siskind HELP: Help will be offered during a “From Floundering to Flourishing Q & A” panel encouraging Want to hear a “dirty little secret” about piano teachers? Most of them teach pop transparent discussion on “what is songs to their students but have no training at all in playing or teaching popular music. most difficult for us when teaching young students?” and “what is To help fill in some of the gaps in piano teachers’ knowledge, the Creative Track is keeping us from teaching young offering a preconference day filled with everything pop. The day will start with a students?” We will also enjoy presentation by Todd Van Kekerix, Piano Pedagogy Professor at Houston’s Moores collaborative sessions with School of Music, explaining how to build essential piano skills using popular pieces. colleagues on topics pertinent to Then, Korea National University of Education professor Dr. Sumi Kwon, will share developing young musicians. how she uses the music of K-Pop groups like BTS and Blackpink to teach improvisation to young learners. You won’t want to miss this year’s exciting line-up of engaging In the third session, Nicholas Lira and Bridget O’Leary will share insights on teaching presenters with exceptional students to interpret pop music with the stylistic precision that’s usually reserved for credentials in the field of developing playing classical masterworks. Musicians discussed will range from Sara Bareilles and young musicians. A renowned Alicia Keys to Elton John, Lady Gaga, and BTS. specialist, Dr. Wendy Valerio Following these presentations, we are pleased to welcome master-teacher Shane co-authored GIA’s Music Play Adams, who will give a three-hour interactive session on songwriting. Adams is the (1998 and 2020). She also serves president of Artist Accelerator, a twice Grammy-nominated music educator, award- as director of the Children's Music winning producer/songwriter, and author. Development Center at the University of South Carolina, He’s a founding instructor for Berklee Online, where he has taught lyric-writing and Columbia where she directs and songwriting to thousands of students since 2003, and a featured songwriter and conducts early childhood music instructor for the Taylor Swift Education Center at the Country Music Hall of Fame development research. Another nationally recognized icon and immediate past-president of the Early Childhood Music and MovementAssociation, Amy Rucker invests in teachers as a national Explore trainer for Musikgarten. In addition World Music to Valerio and Rucker, Color In My with a Summer Camp! Piano blogger Joy Morin earned two •Interactive, Multimedia Curriculum certifications from the Gordon •Piano Music with Accompaniments •Practice in the Piano Maestro App Institute for Music Learning, and •Reproducible Activity Passport Linda Fields completed her Early Childhood Music and Movement Association Level III Certification. www.KeysToImagination.com

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and Museum, who gave Adams their “Top Ten Hitmaker” how to view these concerns through our Higher Education award in 2014. He co-developed their current “Words & lens. With this perspective in place, we have arranged Music” and “Songwriting 101” outreach programs, which a preconference session to allow for the exploration of these have enabled over 250,000 American students to learn to ideas in an accessible and welcoming way. write songs. The Higher Ed preconference track will feature a two- For this session, Adams will invite participants to join his part session dealing with aspects of microaggressions “Songwriting Custom Shop,” in which he’ll guide them and bias experienced in the collegiate environment. through writing their own song, from creating a chord The problem of microaggressions is of concern in many progression to writing a lyric, to organizing song sections aspects of interpersonal interaction—we intend to direct into a recognizable form. All the while, Shane will share our focus more narrowly here, with specific attention lesson-ready tips for teachers to help inspire their students’ to issues that are of direct relevance in teacher training inner songwriters and encourage them to craft better songs. and professional life. We will begin with an extended This is a preconference day you won’t want to miss. exploration of microaggression focused against pedagogy specialists in the collegiate environment, with an introduction to microaggressions, followed by breakout sessions to explore microaggressions in the piano pedagogy environment. In the second half of our day, we will explore issues related to repertoire. A panel discussion will present concerns about the use of folk songs in the beginner and JULY 19, 2021 group piano curriculum. This will be followed by breakout discussions that explore problems of microaggressions, cultural appropriation and bias in the "canonic" repertoire Teacher Education in for our instrument. We close with collaborative development of a call to action, so that the committee, and its friends, can provide leadership to the field of teacher training. Higher Education Breakout rooms and other interactive activities will be led Preconference by members of the preconference committee. For those who attend the preconference, it will be both By David Cartledge & Courtney Crappell an insightful and a reflective experience. The idea that the problem of microaggressions extends across multiple domains can be a novel realization, and awareness of the We are pleased to announce the upcoming preconference problem can allow specialists in a variety of domains to plans of the NCKP Teacher Education in Higher Ed avoid being marginalized. This awareness also allows for committee. While this committee’s title appears new to insights into the extent and nature of microaggressions in the roster of NCKP leadership, it has actually developed many aspects of society. These sessions will be introspective from its previous name, the Collegiate Pedagogy Teaching and revealing. The panel discussion on folk songs will committee. This renaming and adjustment of mission is explore how many of the corpus of tunes that are part of intended to refocus the purview of the committee with the pedagogical vernacular are in fact pieces of music with a broader mandate and a wider audience, in order to complex, and often problematic histories and meanings. reflect the variety of ways in which teacher training enters our curriculum. We anticipate that this discussion will challenge our ideas about what kinds of tunes are acceptable for use in As the committee assembled early in Fall 2020 to discuss classrooms where we hope to serve diverse populations. and construct plans for the NCKP preconference Higher Our breakout sessions will examine how these concerns Ed track, we were deeply interested in questions of diversity affect the repertory as a whole. and equity, and the ways in which these causes can be advanced within our field. The dramatic social unrest of the Overall, these discussions will allow us to explore summer of 2020 provided a powerful impetus to examine fundamental challenges that are emergent and ongoing structures, curriculum, repertoire, and social organization in the professional lives of all of us, coupling careful in the higher education space, in order to make sure that introspection with an assessment of constructive paths our world of teaching and pedagogy is indeed welcome forward. We hope that you will choose to join us for this to all. Accordingly, committee discussions centered around virtual event and look forward to reconnecting with many of our colleagues throughout the country. 38 / PIANO MAGAZINE LEARN

You are then invited to an open social hour to interact with fellow colleagues interested in research. Come as you are and unwind as we get to know educators from various backgrounds. This opportunity will offer the time and space for community networking around the world. You may JULY 21, 2021 come away with some fascinating avenues and ideas for integrating research or perhaps make a connection with someone that you may not have otherwise met at Research the conference! Preconference By Joann Marie Kirchner & Grace Choi

If you have always wondered why research is important, JULY 22, 2021 how it is relevant to everyday piano teaching, and which innovative ideas can be successfully implemented, please join the Research Committee for the NCKP Diversity Preconference preconference on Wednesday, July 21. This three-hour preconference will feature a presentation by Dr. Gilles By Leah Claiborne Comeau, Founder and Director of the Piano Pedagogy Research Laboratory at the University of Ottawa, a Panel Discussion with the Research Committee, and Open The Diversity and Inclusion Committee is excited to Social Hour. present its first preconference at NCKP 2021, which will foster engagement with leading scholars in the field who The first preconference presentation will feature the topic champion equitable practices in teaching, scholarship, “Scientific Research: What Has That to Do with Piano and performance. Since the conception of the Center’s Pedagogy?” by Dr. Gilles Comeau. In this session, new committee, chairs Dr. Leah Claiborne and Dr. Desireé Dr. Comeau will discuss the teaching of music and its long González-Miller have spearheaded town hall discussions, tradition based on the experience and intuition of teachers. webinars, articles, a new course on Black composers, In this context, what can research do to contribute to better and a Diversity Summit—all which examine how teachers, knowledge about music teaching and learning? students, and performers can begin to take steps to create � A high percentage of young students spend little time a more inclusive field in piano pedagogy. The 2021 practicing their instrument or drop out of lessons— preconference will continue to highlight these efforts how can research help us motivate them? by providing various levels of engagement and scholarship centered around these practices. � Students have so much difficulty learning to read music— how can research explain why they have such mixed results The Diversity Committee has created a dynamic conference in acquiring this skill? for participants to explore, engage, and reflect upon two areas in the pedagogy field: Diversifying Piano Repertoire � Pain, injuries, and performance anxiety are on the rise— and Building Anti-Racist Practices. how can research help us address these problems? The preconference will begin with a ninety-minute workshop Research results can challenge our educational practices that will highlight beginning through advanced piano works and help us gain a better understanding on how to help which have largely been left out of the canon. Scholars students achieve a good level of musical mastery. and artists from across the country will present workshops and panel discussions on music from the Americas, Asia, The Research Committee is excited to host a panel and Eastern Europe. Pre-recorded performances will discussion of current trends and applications of research awaken the spirit of diversity within repertoire and showcase in piano pedagogy. We are enthusiastic piano teachers the beautiful variety of piano music available for our of various age groups and strongly believe in applying students. Information on where to locate the music will active research into piano teaching. We will discuss and also be given. demonstrate ways to integrate theory and practice that will help everyday piano teachers in a meaningful way. Spring Issue 2021 Vol 13 No 1 / 39 LEARN

Panelists in the second ninety-minute workshop will discuss as Sonya Renee Taylor so eloquently posits, is that a life building anti-racist practices. The year of 2020 brought that we should wish to return to? forth many social, political, and personal challenges, and a spotlight was placed on racism in our country. This “We will not go back to normal. Normal never was. spotlight has created an opportunity for professionals to Our pre-corona existence was not normal other than we learn how to shut down racist practices that they may or normalized greed, inequity, exhaustion, depletion, may not be aware of, and also equip members in our field extraction, disconnection, confusion, rage, hoarding, hate, with the tools necessary to create safe spaces for learning and lack. We should not long to return, my friends. We are to occur. During the panel and subsequent breakout being given the opportunity to stitch a new garment. One rooms, BIPOC panelists will share personal stories of their that fits all of humanity and nature.” – Sonya Renee Taylor unfortunate experiences with racism in the piano field, and I cannot think of a better way to describe the spirit in which present action steps to prevent continued racist practices the Collaborative preconference day was conceived. in piano pedagogy. Piano teachers have a great influence The Collaborative committee felt strongly that the virtual on opening the landscape of equity and fostering a positive gathering was an ideal occasion for active reflection change for the next generation of pianists. We invite you and discussion of these issues. With these challenges came all to participate in this important discussion. growth: lessons learned and knowledge gained in this difficult process will transform how we do things when life returns to “normal.” To this end, the preconference sessions highlight topics that have been thrust into the spotlight through a collaborative lens: teaching and performing in times of physical distancing, professional development JULY 23, 2021 and evolution, recording, and exploration of repertoire by under-represented composers. The day will open with an honest conversation about Collaborative the pandemic’s effects on how our work is delivered— the good, the bad, and the questionable: low-latency Preconference platforms, adjustments to pedagogical approaches, and an examination of what practices might continue to be By Alexandra Nguyen constructive post-pandemic. What are the long-term implications for how we teach and perform collaboratively? Should low-latency platforms continue to develop and be 2020 was a tumultuous year, with the COVID-19 used in the future, they would remove the limitation of pandemic and social justice crises significantly impacting geographic proximity, allowing for distanced ensemble our lives. The pandemic has upended the performing arts performances across countries and continents. field, decimating musicians’ work and professional lives. Organizations, historically considered pillars in the Given the broad scope of possibilities, forging one’s own profession, such as the Metropolitan Opera, Broadway path in the musical profession has always been a rite of venues, and the Kennedy Center, have shut down. Teaching passage for emerging pianists. As a new work landscape now entails massive investments in technology, energy, develops, reinventing oneself professionally will be critical and time, not to mention major shifts in pedagogical to ensuring success in an unknown market. Our second approaches. Collaborative playing came to an abrupt halt session will present strategies for re-defining one’s with physical distancing and safety protocols, wreaking professional goals and activities, followed by a town hall havoc in virtually every aspect of music performance and forum where attendees can solicit individualized feedback education. To add to that, social justice movements on constructively engaging in this process. have forced us to question biases inherent in ourselves and our field, exposing vulnerabilities that we may not One of the rather onerous tasks for pianists that has have wanted to acknowledge. transpired thanks to the pandemic is the production of recorded tracks for singers and instrumentalists. As we begin 2021, depleted from the last year, these issues Digital applications have also been used to supplement remain at the forefront of our consciousness. We all long for these, causing concern that pianists might be replaceable the ease, comfort, and routine of our pre-COVID lives. Yet, by electronic media—a sobering thought. Our third presentation of the day will provide strategies for best

40 / PIANO MAGAZINE LEARN practices in this realm, and ways to retain a sense of artistry and the truly interactive nature of personal collaboration. Our day will conclude with a session dedicated to the music of voices not normally represented in our everyday teaching. The music of the Western canon that we JULY 26, 2021 encounter is predominantly by white men, yet the demographic of composers is far more diverse. An overview of vocal and instrumental repertoire by underrepresented Career Development composers will be shared, as will resources to research these works. and Innovation While the day’s events might raise more questions than answers, the discussions will be thought-provoking and Preconference energizing. As chair of the Collaborative Committee, I am By Jani Parsons & Kellie Cunningham extremely excited and invite you to join us! Between our fantastic presenters and participants, I am looking forward to seeing how we can take this “opportunity to stitch a new Do you wonder how to build your music studio? Are you garment” in the collaborative field. While this last year has searching for inspiration as you start out on your career felt as though all burst into flames, I am certain that we will path or looking for ways to claim your leadership potential rise from the ashes with inspiration, inclusivity, compassion, and innovate your practice? Have you been hoping to and humanity. rework, revamp, and renew your weekly lesson strategies? If you answered "yes" to any of these questions, NCKP’s

MMusicUSIC Teachers TEACHERS National NATIONAL Association ASSOCIATION

Whether you are a seasoned professional or new teacher, membership in Music Teachers National Association is an essential part of your professional life. Since 1876, MTNA has been the foremost leader in empowering the music-teaching professional by providing valuable resources and networking opportunities for its members.

Join MTNA for the 2021–2022 Membership Year! Call (888) 512-5278 or visit www.mtna.org

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pre-conference session with the Career Development and Innovation Committee is just what you’ve been looking for! Our newly-redesigned committee for Career Development and Innovation has been enthusiastically putting together a series of sessions to be held on July 26, 2021. Three broad JULY 27, 2021 categories are represented throughout the day as follows: time dedicated towards students and young professionals, a segment broadly speaking to all of us who long to develop New Technological our careers, and a final segment designed to foster leadership and innovation. Horizons for the We will launch our sessions by defining the nuts and bolts of career building at the initial stages, including successfully Creative Teacher transitioning from college to a career. We will also look at By Christopher Madden best practices of teachers who have journeyed ahead and found productive strategies for overcoming common studio concerns. Though designed specifically for new and Without a doubt, piano teachers are looking forward to emerging teachers, even seasoned teachers will find these a post-COVID world in which live recitals and in-person workshops helpful to sharpen their tools of the trade. lessons are once again the norm. While the shift to online The midday sessions will highlight stories of mentors and instruction has been difficult, there is good news: piano teachers who are in the field, building their studios and teachers are now more technologically proficient than developing and expanding their careers. The importance ever before! The Technology Committee hopes to leverage of mentorship—in building connections, fostering teachers’ newfound familiarity and confidence with relationships, and finding meaning in our profession—is technology in order to “raise the technological bar” in showcased through the powerful medium of story-telling. piano pedagogy. Whether you hope to learn more about Panels and interviews with mentor/mentee teachers will increasing audio/video quality in your lessons or create be interspersed with short sessions on building soft skills virtual collaborative performance opportunities for your as we constantly expand our personal resources. Breakout students, the preconference Technology Track offers just sessions throughout the time will allow for connecting what you need, and we hope you will join us for a day of with other attendees, providing for deeper thinking on the practical sessions full of exciting possibilities! topics being presented. These stories, these relationships, This year’s Technology Track will feature sessions that are a part of what motivates us as teachers and mentors fall into two categories: 1) technology to enhance virtual ourselves, and we cannot wait to share them. performances and 2) technology to enhance online In the final segment of the day we will focus on leadership teaching. All presentations are designed to harness and innovation, seeking to demystify some common the unique opportunities presented by NCKP’s virtual leadership tropes and present actionable steps for engaging format. Specifically, because teachers will “attend” your leadership potential. We will also consider how you can the conference from their homes, they can prepare innovate your practice in developing new projects from a their technology ahead of time, allowing them to follow seed of an idea into a pitch that others can get behind. real-time tutorials on their own devices. NCKP’s virtual registration process will allow the Technology Committee We hope you are able to join us as we forge new pathways, to contact attendees ahead of the conference with a list seek for deeper relationships, and lead another generation of software and apps to prepare in order to maximize of innovative and inspired teachers and pianists. May you teachers’ experiences during each session. experience with us an unforgettable day as we continue our journey of personal growth during these new and exciting times!

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Technology to Enhance Virtual Performances

The Technology Track will begin with a presentation by Laura Silva, a former musician with El Sistema in Venezuela and a passionate advocate for piano ensembles. During COVID-19, Laura’s inability to organize in-person piano ensembles did not deter her from creating performance opportunities for her students. Her presentation will highlight creative uses of technology that helped keep students engaged during this period of distance learning. Laura will also provide easy-to-follow ideas for assembling virtual piano ensembles and provide resources for finding appropriate sheet music. Members of the NCKP executive committee are also exploring a potential collaborative performance that will bring together attendees from around the globe during this opening session. Stay tuned for more details! Building upon Laura Silva’s opening session, the Technology Track will feature several workshops that will help teachers enhance virtual performance opportunities for their students. Mario Ajero’s session, “Distantly Social: Creating Meaningful Virtual Recital Experiences for Students, Families, and Communities,” will help teachers harness the power of social Technology to Enhance Online Teaching media to grow their audiences for both live and pre-recorded virtual recitals. Sessions designed to enhance attendees’ online teaching Rachel Hahn and Lori Frazer will present two contrasting will encourage teachers to use familiar technology in ideas to create engaging virtual student performances. Hahn creative ways as well as incorporate new technology into will draw upon her experiences with remote learning in K–8 their studios. Within the realm of familiar technology, education to show attendees how they can “MacGyver” Michelle Sisler will offer a highly practical session titled, technology they already own to help students develop new “Google Drive Can Do All of That?” While we are all skills and remain connected. Lori Frazer will show attendees familiar with the basic functions of Google Drive, Michelle how students can “snowball” their performances into a large plans to show attendees how to use the technology for ensemble using individually recorded parts. much more than file storage! Teachers will leave with ideas Jonathan Scofield is passionate about bringing old works for creating interactive PDFs, drag-and-drop worksheets, to new audiences, and he will share ideas for how to achieve escape rooms, auto-corrected worksheets, studio this goal in a virtual world. His session, “Constructing registration forms, and more. Semiotic Bridges through Multimedia Performances,” will Have you ever wondered how you can effectively teach demonstrate how virtual performances can help musicians young beginners online? If so, join Timothy Stephenson better convey the symbolism and meaning behind the music and Nicha Stapanukul for their session, “Remote Instruction they are playing. Similarly, Aaron Garner will draw upon and Young Beginners: A Little Bit of Technology, A Lot principles from the art of cinematography to help teachers of Creativity!” Drawing upon their experiences as faculty capture more engaging video footage during their members at Indiana University’s Young Pianists Program, students’ performances. Timothy and Nicha will share ideas for working with young beginners using simple technology in creative ways. Similarly, Lori Frazer will show attendees how to use familiar technology (digital accompaniments) to enhance students’ musicality, sense of timing, and motivation. She will also

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provide attendees with a plethora of resources for finding which teachers can share their own creative ideas and digital accompaniments. experiences with technology during the past year. Members of the Technology Committee will also host a Q&A style If the basics of Zoom teaching have become second nature session titled, “Fast, Clear, and Musical: How to Solve for you, join João Paulo Casarotti and Daiane Raatz for Issues of Sound and Synchronicity.” If you’ve ever asked, a session that will boost your online teaching capabilities: “What options do I have for high quality microphones “Bringing Your Online Teaching to the Next Level: Using and cameras?” or “What is the easiest way to sync audio OBS Studio and Creative/Fun Activities.” During this and video?,” this session is for you! Finally, following many workshop, attendees will learn how to maximize the features years of tradition at NCKP, members of the Technology of Zoom, and they will also explore creative ways to engage Committee will collaborate with presenters in a closing students by using OBS (Open Broadcaster Software) in their “Geeks on Stage” concert. teaching studios. With sessions focusing on diverse topics to enhance your virtual teaching and performances, the 2021 NCKP Technology Track will truly be a unique Additional Opportunities opportunity to broaden your technological horizons. Join us for what promises to be an especially relevant and practical day full of learning and creative ideas! The Technology Committee has organized the day to ensure attendees can interact with presenters during sessions and during pre-scheduled social activities. These will include lunch and dinner breakout rooms, during

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Since 2010, the SIPF organizes the approachable and educational NW FESTIVALS, inviting piano and string participants. ALL AGES ● ALL NATIONALITIES.

Providing an outlet for educational beneﬁt, the NW Festivals focus on the major style periods and provide performers with constructive feedback from leading performing masters. Participants receive evaluations. Narrowly deﬁned age groups and categories allow participants to be generous awarded. This season’s events move online. Musicians from anywhere may prepare home recordings to submit for evaluation from international artists.

Now Online! 2020-21 Judges: Susan Boettger, Belinda Chen, Vivian Choi, Julia Hwakyu Lee, Nicole Narboni, Minji Noh, Ross Salvosa, Alexander Tutunov, Francis Yang. SIPF Board & NW Festival Committee: Christopher Bowlby, Ivona Kaminska-Bowlby, Max Adkisson, Chelsea Bloomberg, Renny Ko, Ross Salvosa

Beneﬁts: Classical Viennese Fest: Virtuoso Artist Fest: Bach Fest: • Tangible teaching goals spread throughout the year • Receive an un-biased evaluation from outside your area • Resume-building achieve- 2020-21 SPONSORS: ment • Most superior will be invited for a live concert after Covid restrictions lifted Deadline: March 4, 2021 Deadline: May 20, 2021 Deadline: date during Info: /nw-festivals/classical Info: /nw-festivals/virtuoso Oct, 2021 TBA Info: /nw-festivals/bach Chopin Academy of Music seattlepianocompetition.org

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REFLECT

VOLATILITY, UNCERTAINTY, COMPLEXITY, AND AMBIGUITY:

Piano Lessons IN THE VUCA Era

by Brooke Balbuena

2020 was clearly unprecedented. We faced How and what should we be teaching to provide students with the depth and breadth of skills they enormous challenges including COVID-19, will surely need as they inherit an uncertain world? a tense social justice climate, and record- What specifically are those skills? breaking environmental disasters, just to name a few. Politically, Americans experienced Following the Cold War, the United States military coined the acronym “VUCA” to describe unstable environments palpable polarization arguably not felt since that were volatile, uncertain, complex, and ambiguous. the 1960s. Undoubtedly we all have been I found that the acronym accurately described the profoundly affected; likely in vastly different unconventional theaters of war I experienced in Iraq and Afghanistan. In the nearly two decades since September and lingering ways. 11, 2001, business leaders, psychologists, career counselors, and entrepreneurs have adopted the term to describe As a combat veteran of the United States Army, I am their operational environments. Today, VUCA relatively comfortable navigating daily uncertainties adequately depicts daily American life. and dealing with continual change for extended periods of time. Strangely, deployments are wonderful preparatory In her book, Ready or Not: Preparing Our Kids to Thrive in exercises for the rules, ambiguities, and unforeseen an Uncertain and Rapidly Changing World, Madeline Levine consequences associated with pandemics. Adversely, describes an American VUCA society in which anxiety is I am also intimately familiar with the toll extended periods on the rise. She states, “nearly one in five adults in the of perceived stress can take on mental and physical United States has suffered from an anxiety disorder over health. As a seasoned academic, I strive to seek more the past year, and nearly one in three of us will experience solid ground rooted in research as I value the insights it over the course of our lifetime. Among adolescents ages available from the literature across the disciplines. It is 13–17, one in three struggled with anxiety within the past from this intersection of my life experiences, and in the year, and 8.3 percent had a severe impairment.” 1 With wake of 2020, that I have considered and reevaluated nearly a third of teens impacted, it is reasonable to assume my role as a piano teacher in the lives of my current students. that anxiety may be affecting some of our current I have been wrestling with difficult questions that frequently students and/or their family members today. Of note, evade straightforward answers: How can piano teachers Levine’s book was published early in 2020 in the days best serve and support students in these rapidly changing just before COVID-19 hit American shores. It will prove times? How and should teaching philosophies adapt prudent for those who work with people to monitor if and to meet the needs of our students while ensuring the how these statistics change going forward. relevancy of our craft, and by extension, our livelihoods?

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While Levine’s book is primarily for parents, there are as broader fundamental skills. This project could be taken direct and important implications for educators as well. a step further to include collaboration between students in In researching areas outside of her primary field of the form of an “on your own” duet or ensemble. While this psychology, Levine identifies skills and attributes that type of assignment is hardly a new idea, it’s value for both will be increasingly necessary for individuals to possess student and teacher when viewed through the VUCA lens to successfully navigate a VUCA environment. might be. It is exactly this type of work that cultivates These include: student opportunities to exercise their self-sufficiency while � Curiosity ultimately affecting their sense of agency and building a � Creativity more meaningful self-confidence. These types of fundamen- � Flexibility tal skill projects can benefit teachers in the VUCA age as � Educated risk-taking well by inviting both creativity and flexibility into the � Collaboration planning we regularly do. � Perseverance � Self-regulation As we look ahead to brighter days, piano teachers can continue to cultivate pedagogically sound approaches Fortunately, our field is rich with opportunities in which to piano study while contributing to the broader skill sets students can develop these skills while concurrently our students will require in an increasingly VUCA future. refining their musical fluency. As pianists, we know that We can and should follow Levine’s example of exploring productive music study is largely shaped by one’s ability research of neighboring fields including psychology, to persevere, retain curiosity, and remain energetic military leadership, entrepreneurship, and child development while working through technical and musical problems. to add fresh cultural relevancy to our individual teaching Additionally, piano teachers are often uniquely positioned philosophies and the day-to-day teaching in our studios. to freely plan personalized courses of study tailored to As we rise to meet the challenges of tomorrow, I hope the needs of each student. In a VUCA world, I suggest we lead by example modeling a hopeful and optimistic lesson plans include Levine’s broader fundamental skills, outlook rooted in resiliency, research, and indeed, in addition to more focused musical and pianistic goals. our own sense of increased agency. By incorporating learning objectives such as collaboration and demonstrated self-sufficiency we ultimately extend a greater sense of agency to our students. In other words, BROOKE BALBUENA currently serves as affiliate piano our students can further develop the belief that they hold faculty at Colorado Christian University and teaches local- the ability to directly impact their educational outcomes. ly at the Dana V. Music in Louisville, Colorado. She earned This belief is critical in bolstering student confidence— her MM in Piano Performance and Pedagogy from the a significant outcome as individual confidence directly University of Texas at San Antonio. correlates with one’s ability to experience and cope with perceived success and failure, an essential skill NOTES in a VUCA landscape. 1 Madeline Levine, Ready or Not: Preparing Our Kids to Thrive in an Uncertain and Rapidly Changing World. New York: Harper, 2020: 54. As a practical example, a teacher could introduce an “on your own” project to a student. The student would select a piece of music, learn it independently outside of lessons, and present their finished product as a demonstration of their applied learning—their self- sufficiency. In this example, the learning objectives expand beyond demonstrated musical competency to include perseverance and creativity

Spring Issue 2021 Vol 13 No 1 / 47 PIANO MAGAZINE MARKETPLACE

SPRING 2021

The Well-Balanced Pianist Coming up! WBP Online: July, 12–18 2021. Our program combines musicianship, bodywork, the Taubman Approach, mindset, and pedagogy to help pianists improve practice, performance, teaching, and enjoyment, in a supportive community. Spots are limited so each participant will receive plentiful personal instruction. We also offer private lessons via Skype.

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CFMTA Virtual Conference: Connecting Canada CFMTA's 2021 virtual conference Connecting Canada centres on the theme of diversity in music education. Embrace diversity in your teaching with a hybrid format CONNECTING CANADA of live/pre-recorded sessions, vendor presentations, masterclasses, and more, all from the comfort of your home. Registration opens: Spring 2021. Conference dates: July 8–9, 2021.

PianoArts Biennial North American Competition and Festival Congratulations to ten brilliant pianists selected as 2021 PianoArtists – DANIEL CHE, GODWIN FRIESEN, SOLOMON GE, KYOKO KOHNO, CHIA-YING SHEN, MINSHAN TSAI, JUSTIN VIERA, HANYANG WANG, XU PENG, and AILUN ZHENG. The jury in the March virtual semifinal round will select three to perform in June with the Milwaukee Symphony Orchestra.

Learning to Play the Piano A great book to play the piano—play sound stories, compose your own music, play familiar tunes almost immediately. Not in other books! $10 plus $2 shipping

48 / PIANO MAGAZINE PIANO MAGAZINE MARKETPLACE

PIANO MAGAZINE MARKETPLACE

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Folksongs for Little Folks A correlated, 34-week program of instruction for young beginning pianists/harpists employing visual, auditory, kinaesthetic, & tactile experiences in a variety of creative, fun activities. The accumulative student book includes song-sheets, theory-colouring sheets, & 28 crossword puzzles. The Teacher’s Manual & Adult Guide outline lessons & reinforcement at home. Brochure available.

Keyboard Cosmos Download free practice arrangements of authentic melodies that improve rhythm coordination, use a fuller keyboard range, and provide experience with different keys in shorter pieces. In addition to a video demonstration of each selection, the sheet music includes a fully notated arrangement, a lead sheet version, and a rhythm exercise.

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Chapin Jazz Studio | Bill Chapin Bill Chapin helps piano teachers develop jazz piano skills, allowing them to support students in jazz bands, enrich their teaching with jazz voicings, and learn applied theory for improvisation.

Spring Issue 2021 Vol 13 No 1 / 49 REFLECT INTERNATIONAL

A PIANIST’S REFLECTIONS from Germany by Matt Rubenstein

The first coronavirus lockdown in Germany came relative- This allowed for some peace of mind at a moment of ly early. By the last week of March, everything nonessen- great generalized uncertainty. tial was basically shut down, including restaurants, bars, and schools. Berlin suddenly seemed to revert back to the Teaching online was challenging indeed. Problems way it was when I arrived here in 1999: a sleeping giant, related to sound, picture, and the coordination of the two full of culture and promise, without nearly as much noise elements were relatively constant. It also took some time and bustle. It is a town with a famously vibrant, wonder- to acquire all of the necessary equipment. This included a fully varied concert life. For musicians and music lovers microphone stand with a cellphone mount that allowed across the city, the virus cast a pall of silence. students to see my keyboard in one frame and me in another.

Approximately one year before the first outbreak, I had Adversity necessitated creativity, however. These obstacles undergone arthroscopic shoulder surgery, which caused a ended up enriching my teaching and, to a certain extent, six-month hiatus from the piano. My first solo recital in my playing as well. As a young child, I loved to improvise, over a year was to be in late March at the lovely Glienicke but daily practice was inconsistent. I finally began to Palace on the outskirts of the city, a venue in which I practice in earnest in the sixth grade, when I began have often performed. Uncertain about whether I was lessons with a stricter teacher. Maybe as a reward for practicing for a concert or a mirage, I called the organizers good behavior, he did allow me to program my own a week or so before the date to ask for a prognosis. Toccata in C Minor on my first solo recital. With my next A familiar voice assured me, “Herr Rubenstein, we look teacher, the itch to compose receded definitively to make forward to your concert.” Three hours later, the same room for all the hours of practice that recitals, competitions, voice called me to say that the venue needed to be and auditions demanded of me. Nevertheless, improvising completely closed. stayed with me through the decades, if only as a mode of procrastination, or perhaps a secret ambition. The month of March saw me issuing little edicts to my Occasionally I attempted to teach it to my students, but students at a quick pace. On March 12th, I informed them absent any real method, these efforts were haphazard that I was still teaching, but needed to initiate the strange and lacked continuity. new ritual of social distancing in our lessons. Masks had not penetrated our collective consciousness yet. A couple As the struggle to continue teaching concepts of musical of days later, as it was proving difficult for both students refinement online continued, I had the good fortune to and teacher to behave in this odd new manner, I wrote stumble across some videos by online improvisers, another group email reinforcing the rules. Eventually this especially John Mortensen, an American pianist who gave way to news of a complete lockdown and all lessons teaches eighteenth-century improvisation. Inspired, I moved to an online platform. found more materials, including scholarly treatments worth wading through. I now have some real tools to I was surprised and delighted that almost none of my initiate my students in the art of “historically informed” students objected to Zoom lessons. Another bit of good improvisation, and I can even teach it through the internet. luck came in the form of a 5000 Euro subsidy issued by the Berlin Senate for those who were self-employed. For many of my students in Berlin, practical knowledge The process was surprisingly simple, and the funds offset about composition is more than a dry exercise. One the lost income from missed lessons and concerts. student is a commercial film and video composer.

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PLAY

Can you imagine performing a piece by a Black composer who was born into slavery? What a piece of history you would PUPIL have at your fingertips! Chevalier de Saint-Georges (1745–1799) was a virtuoso violinist, conductor, and composer. Born SAVER in Guadeloupe, his father was a wealthy plantation owner and his mother was enslaved on the plantation. His father took him to Paris, France when he was seven years old to further his education. He became a leading concertmaster in Paris, performing his own violin concerti, and concerti that were dedicated to him by other leading composers of the time. Some of these composers include Antonio Lolli and Carl Stamitz. Chevalier de Saint-Georges composed operas, solo vocal and instrumental works, chamber music, and symphonies. All of the music that this composer created is hardly ever performed, but that can change right now by incorporating Adagio in F Minor into your repertoire. Adagio in F Minor is a solemn, expressive piece that would be a wonderful predecessor before a student ADAGIO tackles Clementi sonatinas. It can be challenging for teachers to find music that bridges the gap between in method book repertoire and sonatinas, as well as the transition from sonatinas to sonatas. Adagio in F Minor fits perfectly into an early-intermediate F MINOR pianist’s studies. This piano piece in F minor features a melancholic melody with expressive harmonic by Chevalier de Saint-Georges support (see Excerpt 1). The musical maturity needed for this piece often makes this a favorite amongst intermediateScore adult students as well.

Excerpt 1: Chevalier de Saint-Georges, Adagio in F Minor, mm. 1–4.

j ˙. œ bb b 6 Œ‰ œb œ œ. œ œ œ œ. œ œ History at Your Fingertips! & b 8 J J Piano p œ œ review by Leah Claiborne ? 6 œ œ œ œ œ œ œ. œ œ œ bbbb 8 Œ‰ œn œ œ œ œ œ œn

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Adagio in F Minor presents a few challenges for the Excerpt 4: intermediate student: Chevalier de Saint-Georges, Adagio in F Minor, mm. 21–24.

CHALLENGE #1 j œ. j b b œ œ. œ œ œ œ & b b 86 Œ‰ œ œ œ œ. œ œ The student is asked to perform scale passages in thirds œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Piano F in the right hand (see Excerpt 2). The thirds in Adagio in œ œ œ œ œ œ œ ? b b 6 œ F Minor are beautifully intertwined with the melody b b 8 and should be voiced to the top note. A similar example of right-hand thirds being used as the melody in the The Adagio in F Minor by Chevalier de Saint-Georges is teaching repertoire is found in Czerny’s 100 Progressive a stunningly beautiful piece by an important yet under- Studies, Op. 139, No. 38 in G major, which can be a great represented composer, and one that students are sure to companion etude when a student is learning this piece love. An easily accessible edition is available through Score(see Excerpt 3). Theodore Presser Company and edited by Dominique- René de Lerma. Excerpt 2: Chevalier de Saint-Georges, Adagio in F Minor, mm. 8–10.

LEAH CLAIBORNE promotes diversity in the arts by championing piano music by Black composers in her bb b 6 œ œ œ œ œ œ œ œ œ œ œ & b 8 œ œnœ œ œ œ œ œ œ œ œnœ œnœ performances, research, and teaching. She serves as Piano dim. coordinator of Keyboard Studies at the University of œ. nœ. the District of Columbia. ? b b 6 œ. Œ‰ nœ. œ. . . b b 8 œn . œ. œ œn Score œ.

3 4 5 4 1 2 4 3 2 4 3 3 1 1 2 1 1 2 œ. # œ œ œ œ œ œ œ. œ œ. œ . . & 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Piano Œ œ œ Œ œ œ Œ œ œ Œ œ œ ? # 3 ˙. ˙. ˙. ˙. 4 4 5

CHALLENGE #2 Another challenge with the double thirds in the right hand is allowing the student to demonstrate that they are capable of shaping repeated thirds in the melody, as in m. 9 (see Excerpt 2). Changing fingerings in this measure will help avoid a locked hand position and will allow for better execution in© shaping the melodic line.

CHALLENGE #3 This piece is such a wonderful example of sonata form. I often use this piece to allow my students to demonstrate their knowledge of key relations, themes, transitions, and sections of the sonata form. Allowing the student to fully appreciate the gravitas of F minor © compared to the brightness of the second theme in A-flat major (see Excerpt 4) will greatly impact the student’s interpretation.

Spring Issue 2021 Vol 13 No 1 / 53 EXPLORE WELLNESS RESOURCES FOR TEACHERS

PROFESSIONAL ASSOCIATIONS: Your Indispensable Resource for Musicians’ Health Information BY GAIL BERENSON

As an eager college student majoring in piano, I felt it was a badge of honor to practice eight hours a day on the weekends. I thought I was doing what every dedicated music major was supposed to be doing. In those days there was little in my curriculum that offered information about efficient and healthy practicing strategies, or any musicians’ health issues for that matter. Years later I heard the words, “less is more,” and learned techniques to use my practice time more efficiently and productively. It wasn’t until two very prominent pianists, Leon Fleisher and Gary Graffman, suffered hand injuries serious enough to impact their performance careers, that the word “wellness” entered our lexicon. Since the launch of music associations’ wellness committees, it has been interesting to see how they have evolved over time. Initially their primary focus was on recovery from injury, perhaps due to the Fleisher and Graffman injuries. Gradually, the focus expanded to include injury-preventive strategies. Today’s committees have progressed still further, embracing ways to help students maximize their performance potential, helping them develop their technique to project the composer’s ideas effortlessly, and to focus on sharing the emotions of the music with the listener. There is also greater emphasis on teachers focusing on the whole person. Of course, our ultimate goal is for our students to develop a love of music and wish to pursue a lifetime of music making, whether for pleasure or professionally.

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HOW IT ALL BEGAN NATIONAL CONFERENCE ON PIANO PEDAGOGY (NCPP) I attended my first wellness workshop in 1988 in Cleveland, Ohio. The Cleveland Clinic Foundation sponsored an Arts In 1988, I received a call from Richard Chronister, co-founder Medicine Symposium entitled “Medical Problems of the of NCPP, asking if I would be interested in putting together a Performing Artist.” It was a fascinating event and one that wellness committee for the National Conference on Piano really captured my attention. So began my education in the Pedagogy. I was honored to initiate the NCPP Committee on field of musicians’ health, which expanded to include course the Prevention of Medical Problems, which remained in work and attendance at numerous workshops, events in which place from 1989–1996, at which time NCPP temporarily I continue to engage. stopped operating.

MUSIC TEACHERS NATIONAL NATIONAL CONFERENCE ASSOCIATION (MTNA) ON KEYBOARD PEDAGOGY (NCKP) In 1990, MTNA sponsored “An Ounce of Prevention” at After a 5-year hiatus, the National Conference on Keyboard MTNA headquarters in Cincinnati. Several PAMA (Performing Pedagogy was launched. I was excited to be able to Arts Medicine Association) founding members served as the reestablish the NCKP Committee on Wellness for the clinicians, including physicians Alice Brandfonbrener, Richard Pianist, which remains active to this day. Lederman, and Robert Sataloff. It was very exciting to be in the presence of some of the most renowned physicians in this field at the time. Twenty years later MTNA was still advocating for COLLEGE MUSIC SOCIETY (CMS) musicians’ health by hosting two national wellness conferences in conjunction with the Canadian Federation of Music Teachers In 2014, at the annual CMS meeting in St. Louis, Dr. Patricia Association. The 2008 and 2010 CFMTA/MTNA Wellness Campbell, the President of CMS, asked me to convene a group Symposia, “Empowering Musicians: Mind, Body, and Spirit,” of music educators attending the conference with an interest took place in New York City. in wellness. The rest was history, with the CMS Committee on Musicians’ Health officially established in 2015. The committee has been extremely active since its inception.

New Instructive Editions by Piano Street

- designed to support students in the beginning stages of the learning process when teaching online. Try a free sample now at: www.pianostreet.com/pianomag20

Spring Issue 2021 Vol 13 No 1 / 55 EXPLORE WELLNESS RESOURCES FOR TEACHERS

I hope you will all take advantage of the wealth of information that is available today through our professional associations. There is much to be gained for ourselves and for our students. Wishing everyone good health and much joyous music making! Wellness Resources for Teachers NCKP and the Frances Clark Center claviercompanion.com • NCKP Wellness Curriculum Outline • Webinars on a wide range of wellness-related topics • This column, “Healthy Playing–Healthy Teaching” in every Piano Magazine issue

MTNA mtna.org • Pedagogy Saturday full-day wellness track • Musicians’ health article series in American Music Teacher • Series of “essential skills” articles online • Webinars and wellness-focused conference sessions • T eaching for Health, Teaching for Life, a new wellness educational program premiering in 2022

CMS music.org • Musicians’ health webinars • Handouts and valuable resources • “To You and Your Students’ Good Health” Q&A article series

Visit claviercompanion.com to access these links and resources via our website.

GAIL BERENSON, Ohio University Professor Emerita of Piano, is a renowned presenter on musicians’ health, having lectured in over thirty states and eleven countries. A Past President of MTNA, she was the recipient of the 2019 NCKP Outstanding Service Recognition Award. www.gailberenson.com

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MYC® has been online since the beginning of the pandemic and continues to offer fun and interactive classes. Now classes are being offered both online, in person or hybrid in accordance with regional health guidelines.

Music for Young Children® is the only child-centered music-learning system that integrates keyboard, creative movement, rhythm, and singing, ear training, sight reading, music theory and composition. MYC is ideal for teachers who meet specific piano-performance and music-theory qualifications, and are energetic, enthusiastic and passionate about music. Enhance your studio with the MYC method! Teaching opportunities available at www.myc.com/teaching-at-myc

Follow us on: 1.800.561.1MYCSpring Issue 2021 Vol 13 No 1 / 57 DISCOVER BOOK REVIEWS WHERE ARE ALL THE BLACK FEMALE COMPOSERS? • • and • • WHY IS MY PIANO BLACK AND WHITE? by Nathan Holder

review by Vanessa Cornett When I first held these books in my hands and leafed WHERE ARE ALL through their cheerful pages, the same thoughts kept running through my mind. This is how we rock the boat. THE BLACK FEMALE It’s time. Are we ready? I sincerely believe the answer is yes. COMPOSERS?

Music study can instill a lifelong appreciation of music and the arts, and dedicated music teachers go to great lengths to offer a variety of repertoire choices and musical experiences for their students. All too often, though, we Where Are All the Black Female Composers? is the smaller focus on the long-established canon of Western art music. of the two books, concentrated entirely on Black female This repertoire is the most familiar to many of us, and composers of the Western art music tradition. Holder therefore can represent our area of expertise and highest explains, “In most of the books you read about classical professional achievement. While this music may be the composers, you will learn about Bach, Beethoven, Chopin most comfortable choice for many instructors, it exalts the or Mozart. But not in this book! There are so many more masterpieces of traditional repertoire written almost composers who don’t look like the men we’ve all heard exclusively by male composers of European descent. about! And many of them are Black women who have Teachers often lack the resources to explore with confidence written music that has brought joy to people all over the 1 music written outside the art music tradition, and music world.” The author strives for breadth over depth, offering written by a more diverse population of composers. information about more than eighty women composers, with twenty-one of these discussed in some detail. He These illustrated children’s books by London-based introduces young readers to composers from around the musician Nathan Holder may seem at first glance to be world, although the majority are US American women pleasant but peripheral supplements to the teaching born in the twentieth century. The supplemental playlist of curriculum. It would be a mistake, however, to overlook listening examples includes solo piano works by Chiquinha these slender “ultimate fun facts” guides. Holder’s fresh Gonzaga (Atraente), Emahoy Tsegué-Maryam Guèbrou perspective is groundbreaking, and packs a powerful (Éthiopiques vol. 21), Florence Price (Dances in the cultural punch. Both books are short and accessible with Canebrakes), Nkeiru Okoye (Dusk), Zenobia Powell Perry easy-to-read miniature stories about important composers (Nocturne), and others. and performers, and both include links to supplemental Spotify playlists. These can spark additional reading, listening, discussion, and individual or group projects. The generous number of black-and-white illustrations are WHY IS MY provided by Zambian English artist Charity Russell. While PIANO the books are geared towards children, adults will find these resources helpful in crafting a comprehensive music BLACK AND WHITE? curriculum. One book is exceptionally diverse and all- encompassing, while the other is laser-focused on one demographic of underrepresented composers. Why is My Piano Black and White? is a substantial compilation of stories and facts about a wide variety of musical styles. Holder discusses four periods of Western art music (Classical, Romantic, twentieth century, twenty-first

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DISCOVER PIANO century), including important composers, musical pieces, and notable performers. Art music represents only about a quarter of the book’s content, however. The author also Acoustic & Digital BUYER® guides the reader through various jazz styles (ragtime, blues, swing, bebop, cool, hard bop, contemporary) and The Definitive Guide to Buying popular styles (rock, hip-hop, gospel, pop, soul/R&B), as New, Used, and Restored Pianos well as music for film, television, dance, and theater. This approach offers students the opportunity to explore the music they listen to, without the assumption that one musical tradition is superior to another. All music is treated as culturally significant and worthy of appreciation. Even Holder’s historical timelines are inclusive, offering a global perspective not limited to US and European history; they include significant historical events in China, India, Liberia, Zimbabwe, Rwanda, and other countries. The famous pianists discussed include Martha Argerich, Lang Lang, Khatia Buniatishvili, and Yuja Wang, as well as Mary Lou Williams, Malek Jandali, Marian McPartland, Hiromi Uehara, Nina Simone, and Alicia Keys. The book also includes information about the history of the piano, recommended books and movies, and QR codes for nineteen corresponding playlists. The only downside is that these playlists are challenging to find on Spotify without the code. Readers are advised to search for “The Why Books” profile. How do these books rock the boat? Because they happily disrupt the ways in which we consider the music of our culture. Outstanding music extends beyond the tradition of Western art music and beyond the narrow scope of composers and styles that many of us were taught. Through these books the author introduces the paradigm shift that all music is worthy of attention and discussion, and that no single tradition is superior to another. This mindset can open our eyes to a wider range of composers and performers including, perhaps, those who look more like the students we teach. (Holders Hill Publishing, paperback Piano 79 pages and 184 pages, $12.99 each) Information at your Fingertips VANESSA CORNETT is the Director of Keyboard Studies and Associate Professor of Piano and Piano • Basic Knowledge articles Pedagogy at the University of St. Thomas in St. Paul, MN. She is author of the book The Mindful Musician: • Brand profiles, model & Mental Skills for Peak Performance. price listings • Online searchable piano and digital piano databases NOTES 1 Nathan Holder, Where Are All the Black Female Composers? (London: Holders Hill, 2020), 6. WWW.PIANOBUYER.COM

Spring Issue 2021 Vol 13 No 1 / 59

20PB-CCad.indd 1 3/20/20 1:33 PM DISCOVER FIRST LOOKS NEW MUSIC

GRADE LEVELS 1

BEGINNING Five-finger patterns & simple rhythms

EASY Scales & simple syncopation

3 (S5-6) PLAYING SOLO JAZZ PIANO: INTERMEDIATE A NEW APPROACH FOR CREATIVE PIANISTS Beginning counterpoint — & complex rhythms by Jeremy Siskind Bach notebooks, Bartók Mikrokosmos I–II Playing Solo Jazz Piano: A New Approach for Creative Pianists by Jeremy Siskind 4 is exactly the right resource for an advanced classically trained pianist interested in exploring jazz piano. The book assumes a high level of LATE-INTERMEDIATE technical skill and theoretical knowledge, so from the start, the content is Technical & rhythmic sophistication meaty enough to be engaging: Siskind meets you at your level. There are Bach Inventions, Bartók no superfluous introductory chapters to gloss over here—he jumps right into Romanian Folk Dances the good stuff. If you enjoy music theory, you will love this book! I enjoyed revisiting the many chord extensions, chord qualities, and modes from 5 college music theory that I don’t often use in my everyday teaching. In addition to the classical theory, there are some jazz-specific concepts that DIFFICULT are new to me, which Siskind helpfully highlights in boldface font and For competent pianists includes in a glossary in the appendix. Mozart sonatas, Brahms Rhapsody, Op. 79, No. 2 In several ways, Siskind has hit a sweet spot in his design of this book. First, each chapter is detailed enough to be fulfilling yet short enough to 6 feel approachable. Second, each chapter has a number of short musical examples and excerpts that are a joy to play. I found it an absolute delight VERY DIFFICULT to read a few paragraphs, play a musical example, and then continue For advanced pianists reading. Third, each chapter closes with a special section called Jeremy’s Chopin etudes, Beethoven Sonata, Tips. These closing sections offer specific practice techniques addressing Op.57 the material covered in each chapter. This overall design struck an immersive balance between text, notation, and hands-on work. CATEGORIES Siskind has not neglected the fact that music is a listened medium as well as a performed one. At the end of each chapter you will find a list of S | Solo recommended solo piano albums illustrating the chapter’s concepts. E | Ensemble

60 / PIANO MAGAZINE DISCOVER FIRST LOOKS & MATERIALS

An appendix at the end of the book compiles fifty intermediate student. Pieces like “Floating,” “Gentle recommended solo piano albums, and at the end of that Breeze,” and “Peaceful Stream” welcome us to a respite list, there is a web link to yet another list of more than five from daily stress and anxiety. hundred albums. If you enjoy listening to jazz and wish to understand the mechanics of jazz piano, Playing Solo Circles features intermediate-level character etudes in twelve Jazz Piano is an extremely detailed and helpful guidebook major and minor keys. Keveren writes in the preface: “The that will leave you, at bare minimum, a much more earth circles the sun in 12 months. The clock is neatly divided astute listener. into 12 hours. The harmony of music gives us 12 major and minor keys, and harmonic motion flows naturally in a circle This book would make an excellent resource for any pianist of 5ths.” In addition, Keveren has performance notes on who seeks an introduction to (or improvement in) jazz skills each piece. or who has an advanced student with a particularly keen interest in jazz. (Jeremy Siskind Music Publishing, $19.99 “Etude in C Major (New Beginnings)” marks the start of hardcopy; $14.99 digital) —Mitch Grussing a new year. Keveren circles around the year with one major and minor piece for each month, ending the book with an uplifting Picardy third in “Etude in F Minor (Afterglow).” It is refreshing to introduce intermediate students to more difficult key signatures without overwhelming them. “Etude in C-sharp Minor (Thunderstorm Toccata)” obsessively repeats a four-note motive, which not only perfectly illustrates the storm, but reinforces the sharps in the key. “Etude in E-flat Minor (Pizzicato Pumpkin)” is all staccato, with plenty of scale passages or fragments. What a delightful way to master a scale. Phillip Keveren is a talented composer and orchestrator whose piano pieces are loved by teachers and pianists everywhere. His understanding of intermediate students shows through in both of these collections. (Hal Leonard, $12.99 and $10.99) —Carmen Doubrava

(S3) PIANO CALM and CIRCLES — by Phillip Keveren Piano Calm is a collection of fifteen solos meant to I Can Do It! Young Beginners or bring a sense of peace and relaxation to performers Piano Book Special Needs? and listeners. Keveren writes in the preface: “The world is a stressful place. Music can be a beautiful, calming part of tuning out the noise and recalibrating the mind, Classic children’s songs heart, and spirit.” With a nod to minimalism and New Key names & ﬁngering Age music, Keveren uses repetitive patterns, slow to Essential music skills moderate tempi, and a palette of quieter dynamics to Simple letter format create introspective and contemplative music for the www.kapokpress.com 866-445-2765 * 30% teacher discount

Spring Issue 2021 Vol 13 No 1 / 61 DISCOVER FIRST LOOKS

is stated as well, such as “swing,” “blues,” and “gospel.” Each piece can stand alone without accompaniment; however, they come to life and sparkle when played with the accompaniment tracks. The tracks provide a count-off of two measures and then the student and ensemble are off and running! The accompaniments support the style of each tune while not overwhelming the piano solo. I played through every one of them with great delight! Teachers will find this an inviting and pedagogically sound collection to add to their library for students who want to play this genre of music. The comic-book-style covers, sound of the tunes, and variety of styles will be appealing to budding jazz pianists! (My-Melodies Publications, $11.95) —Adrienne Wiley (S1-3) FIVE-FINGER JAZZ, BOOKS 1 AND 2 — by Brock Chart

Do you have elementary to early-intermediate students who are interested in playing jazz, and are you looking for a fun new option for them? Wait no more! Brock Chart has crafted two books with accompaniment tracks that are sure to please. Book One features elementary solos and Book Two continues into the intermediate level. The pieces are easy to learn, as one or both hands are limited to five-finger positions. Each book is packed with thirteen tunes. Chart’s thought process was “to make jazz more accessible for younger players and to expose them to the wide variety of different genres found within jazz music.” His music does exactly that: students will have the chance to explore and play in classic swing, slow blues, Latin beats, funk, gospel, and more. The “Helpful Hints” give suggestions for (S4) BOOGIE TIME: performance, such as when to swing and when not to swing 10 PIANO SOLOS ARRANGED BY eighth notes. What makes these books unique is that he EUGÉNIE ROCHEROLLE has included two different tracks for each tune: “ensemble” — accompaniment with full jazz piano trio (piano, bass, by Eugénie Rocherolle drums), and “spotlight” accompaniment with bass and drums only. The tracks were recorded on acoustic After many decades of prolific writing and publishing, instruments in collaboration with two other professional composer and arranger Eugénie Rocherolle has provided jazz musicians. I found the table of contents to be inviting, pianists with yet another collection, this time a book of as the titles of the songs are displayed in a playful billboard- boogies, and it is boisterous, lively, and fun! All works in it style format. will provide intermediate pianists with a rollicking good time. However, it also can serve as a springboard for a bit of Appealing titles like “Bad Boy,” “Top Secret,” “Swamp music history. Most students would probably recognize the Stomp,” and “Fuego” are sure to motivate students. Even main features of boogie-woogie style, with its repetitive bass though the tunes are cast in five-finger patterns, they move patterns, often percussive right-hand riffs, and animated around the keyboard, thus the student is not locked into a rhythms. But they might not be familiar with its origins: that position for the entire piece. Chart has meticulously boogie-woogie emerged in the early twentieth century at indicated articulations in each tune, and the style of each first as a piano-specific outgrowth of the blues. It was

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cultivated by African American musicians, with origins in East Texas, and popularized in various locations, especially Chicago and New York City. The pieces in this collection feature arrangements of a variety of tunes in boogie-woogie style, as well as two original compositions by Rocherolle. Some of the arrangements are of early boogie/blues pieces, such as “Pine ! Top’s Boogie” by Clarence “Pine Top” Smith, who is credited with first coining the term boogie-woogie on a record with this piece in the 1920s. Students may recognize it, as it has become a standard played and adapted by other CORRECTION TO THE musicians. Other arrangements in the collection are from entirely different WINTER 2020–2021 ISSUE: eras, including a boogie-style arrangement of Mozart’s “Rondo Alla Turca.” As Rocherolle points out in the preface, this arrangement maintains Mozart’s Two music reviews were attributed original key and basic right-hand melody, but transforms it by changing the to the wrong reviewer. bassline. Students who have already learned the original Mozart work might Meg Gray is the correct author find it amusing to play this version afterwards, and would be able to learn it of the review of Glenda quickly. Some other arrangements students are likely to enjoy are “You’ve Got Austin’s Jazz Suites for Piano, a Friend in Me” from the movie Toy Story, Lennon and McCartney’s “When and Carmen Doubrava authored I’m Sixty-Four,” and a flashy but accessible rendition of “When the Saints Go the review of Mona Rejino’s Marching In.” (Hal Leonard, $10.99) —Suzanne Schons Impresiones de España.

FIND YOUR OWN

ATRHYTHM ST. THOMAS

Whether you’re a music teacher or just entering the fi eld, our Piano Pedagogy program provides the practical knowledge for teaching music to all ages and abilities — from elementary to advanced students. You can take classes or earn a degree or certifi cate, while gaining skills in nurturing musicianship and technical profi ciency. Online lessons and classes available. Learn more at link.stthomas.edu/music

Graduate Programs in Music Education College of Arts and Sciences

Spring Issue 2021 Vol 13 No 1 / 63 DISCOVER FIRST LOOKS

PRACTIZMA PRACTICE JOURNAL — by Susanna Klein

In these times of incessant online teaching and heavy use of social media, a non-technology approach to practicing is a refreshing idea. Susanna Klein’s practice journal is a low-tech way to both record and organize practice, and also to reflect on how and what to practice. Klein’s journal is broken into sixteen one-week segments, with different practice ideas for each week. Each week contains a goal/assignment page, a reflection prompt, an action challenge, and blank practice journal pages. The reflection and action activities are based on Klein’s research into both practice and performance psychology. In practizma, Klein stresses three overarching goals: efficiency, empowerment, and joy. Her reflection activities ask practicers to think about their strengths and weaknesses (both musically and as humans) as well as providing ideas for THIS ISSUE’S CONTRIBUTORS: inspiration and time to think about past experiences. In the action challenges, CARMEN DOUBRAVA is on the fine arts faculty at musicians are asked to not only set goals, but also to take various actions such The Hockaday School in Dallas, where she teaches piano as listening to a friend’s lesson (and enjoying a latte afterwards), recording and accompanies several choirs, orchestras, and various themselves in different settings, and marking up a copy of their music for study. school concerts. She is also the choir accompanist at Horizon Unitarian Universalist Church in Carrollton. Following this sixteen-week practice path would be personally rewarding MEG GRAY is on the faculty at Wichita State University and enjoyable because it fits my learning style; I enjoy writing, analyzing, where she teaches piano pedagogy and coordinates the undergraduate class piano program. She also maintains and discussing what and how I am practicing. However, not everyone learns a pre-college studio, and is an active adjudicator or grows in the same fashion, and this could be too laborious or even too and presenter. reflective for some students. In a similar way, some children love to draw and MITCH GRUSSING is a piano teacher in the Twin color, others prefer to build with Legos. Cities, where he also co-owns a teaching studio. He holds a Master's Degree in Music Education/Piano Pedagogy For students who enjoy thinking deeply about practice, this journal would from the University of St. Thomas. work well. It could be used for a college piano studio, or perhaps for junior-high SUZANNE SCHONS is Music Editor at the Piano Magazine. She teaches music courses at the University of and senior-high students in an independent piano studio. It also might be St. Thomas and piano lessons at K&S Conservatory of a great activity to kick off a week-long summer piano camp, with follow-up as Music in Minnesota. students return home. Teachers will enjoy having a copy purely as a reference of ADRIENNE E. WILEY is Professor of Piano, Pedagogy, original ideas for motivating their students to practice, and for those who prefer and Class Piano at Central Michigan University. She to be high tech, there is a digital version and more practicing and detailed loves teaching both college- and precollege-aged students and discovering new gems of teaching literature. pricing information available on Klein’s website, practizma.com. (Practice Blitz LLC, $19.95 per individual copy) —Meg Gray

64 / PIANO MAGAZINE A NEW BASTIEN METHOD Inspiring A New Generation Bastien® New Traditions: All In One Piano Course

A captivating and dynamic new method by Lisa, Lori and Jane Bastien designed for student achievement and success. It combines the successful, time-tested Bastien piano pedagogy with new teaching ideas and techniques. Stemming from years of experience teaching students with diverse abilities and interests, the Bastiens have developed this engaging curriculum for today’s busy students.

All in one books with lesson, technic, theory, and performance pages fully integrated in each book for a streamlined, comprehensive, easy-to-use approach.

Appropriate reinforcement and pacing throughout to ensure success for students with diverse abilities and interests.

Innovative, gradual multi-key approach blended with intervallic reading. Staff reading begins with Middle C using varied hand placements, as well as traditional 5-finger positions.

Captivating music featuring outstanding solo pieces and duet accompaniments, an excellent variety of different musical styles, and an abundance of familiar melodies to inspire students.

Neil A. Kjos Music Company • Find A Local Music Store Near You At Kjos.com/locate [email protected] • (800) 854-1592 DISCOVER FIRST LOOKS RECORDINGS · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · Op. 18, of the same period, offer options in lieu of Mendelssohn and Schumann. A sun-filled Chopinesque Mazurke (c. 1865) hints at the unveiling of Fauré’s personal style. Nocturnes No. 6 and No. 13 complete an overview E PLURIBUS UNUM of Fauré’s stylistic development. Nicolas Stavy excels in Liza Stepanova, Piano the satisfying unfolding of the melody and astutely built Navona NV6300 climaxes. With the Ballade (1877–79), he compellingly [Total Time: 55:23] showcases his clarity, ease at the keyboard (Liszt found navonarecords.com the piece too difficult), and shimmering sounds. —Elizabeth Moak E Pluribus Unum is an extraordinary compendium of works by nine American composers with immigrant backgrounds, including five women. Perhaps the most direct representation of immigrants’ journeys is provided KETE: PIANO MUSIC by Venezuelan-American composer Reinaldo Moya, OF AFRICA AND THE whose “The Way North” consists of supremely evocative AFRICAN DIASPORA vignettes representing the dangers, sights, and sounds of William Chapman Nyaho, Piano the upward journey to the United States’ southern border. MSR Classics MS1708 A different kind of harrowing and compelling quest is [Total Time 58:17] provided by Iranian-American composer Badie Khaleghian msrcd.com via “Táhirih The Pure,” tracing a nineteenth-century Bahá’i faith leader’s work and eventual martyrdom as a The piano began as an eighteenth-century Italian invention. result of her advocacy of rights for Persian women. Every Over the past three centuries, it has migrated across the piece here is vivid and memorable, including contributions globe, carrying its own unique sound while giving voice to by Lera Auerbach, Anna Clyne, Chaya Czernowin, Gabriela the cultures it has met along the way. The composers on Lena Frank, Kamran Ince, Eun Young Lee, and Pablo this disc all have roots on the African continent. They too Ortiz. Stepanova unleashes a vast array of sonic colors have migrated across the globe, bringing the light of their very effectively throughout, and plays incisively, lyrically, ancestral home to new lands, building communities that and limpidly, depending on the demands of the material. inform, and are informed, by their surroundings. The music —Geoffrey Burleson on this disc is a celebration of this intersection. Taken from Mr. Nyaho’s print anthology of the same name, the works here are optimistic, tuneful, and performed with an earnest and infectious generosity. Styles vary, but the album stands as a cohesive tapestry of vibrant colors. The intent here is both musicological and pedagogical—a documentation of FAURÉ these important traditions with an invitation to all pianists Nicolas Stavy, Piano to explore their riches. —Jason Sifford BIS 2389 [Total Time 59:12] bis.se SABRINA XIAO HE: This attractive album features Fauré masterpieces, as well PERFORMS DEBUSSY AND as world-premiere recordings of previously unpublished CHINESE PIANO MUSIC works now available from Bärenreiter. Not heard often Sabrina Xiao He, piano enough is the haunting and beautifully played Nocturne Ivory Classics CD-20190 No. 1 in E-flat Minor (c. 1875). Unexpected is the classical- [Total Time 70:37] style Sonata (1863) written by the 18-year-old, clearly in ivoryclassics.com homage to the masters. The Sonata presents a repertoire alternative to a student’s first-such forays into Mozart, A Chinese-U.S. Cultural Exchange Ambassador, Sabrina Beethoven, and Haydn, while the Romances sans paroles, Xiao He masterfully shares the music of her native China, 66 / PIANO MAGAZINE DISCOVER FIRST LOOKS RECORDINGS · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · devoting the first half of her recording to Chinese composers of the twentieth century, many of whom are still living. Several of these composers incorporate Chinese folk music alongside homages to the varied landscape of China, THOMAS ADÈS: with pieces dedicated to the Liuyang and Yellow Rivers. WORKS FOR SOLO PIANO The delicate and rhythmic dances—including Dance of Han Chen, Piano Waterweeds, by Mingxin Du, and Spring Dance, by Yiqiang Naxos 8.574109 Sun—are aurally engaging, and pair delightfully with the [Total Time 69:43] Debussy selections. Tonal structures and patterns afford naxos.com a sense of familiarity at first hearing, making this recording appealing for musicians of varied levels and backgrounds. This album is a masterclass in textural and sonic control. Of particular interest to teachers is the inclusion of lesser Adès’ scores are notoriously complex and fastidiously known works, as well as fresh interpretations of familiar notated, consistently featuring tightly controlled dynamic pedagogical literature such as Debussy’s Deux Arabesques, markings (often changing from note to note), extensive use Clair de Lune, and Images. —Elaina Burns of asymmetric and irrational meters, and using upwards of five staves at times. Most striking about Chen’s realizations of Traced Overhead and the Concert Paraphrase on Powder her Face is his meticulous control of layering; one hears multiple lines converging and diverging at all times, and it is clear ARENSKY: PIANO TRIOS that Chen is in total command at all times, regardless of , Sara Costa Piano; complexity. Impressive also, when listening with the score, V Germana Porcu, iolin; is Chen’s precise and steadfast adherence to Adès’ dynamic

Matilda Colliard, Cello markings. The sonic evenness he achieves, even in the many Brilliant Classics BRI95636 technically demanding passages, is especially impressive. [Total Time 64:57] Featured here is the premiere recording of Blanca Variations, brilliantclassics.com an understated and gently unfolding set of five variations Performers brave enough to tackle the oft-overlooked on a Ladino tune; in these variations Chen strikes a lovely works of Anton Arensky are frequently left to grapple balance of tenderness and virtuosity. —Scott Cuellar with thick textures, fiendishly difficult passagework, and unusual formal structures. Here, the listener is presented RECORDINGS REVIEWS with a rare opportunity to absorb the composer’s GEOFFREY BURLESON is on the piano faculty of Princeton University, and is entire oeuvre for piano trio, offering a chance to hear Professor/Director of Piano Studies at Hunter College-CUNY. He is currently the evolution of style from the youthful Trio in D Minor, recording the complete solo piano works of Saint-Saëns for Naxos Grand Piano. Op. 32 to the behemothic Trio in F Minor, Op. 73. Trio ELAINA BURNS directs Resonance: Mind-Body-Music, a piano and yoga Carducci handles the challenges encountered in Arensky’s studio dedicated to the creative and healing arts. Burns lives in New York and music with aplomb, turning them into true defining holds a doctoral degree from the University of Oklahoma. points of the character. The dazzling colors created in SCOTT CUELLAR received the gold medal at the San Antonio International Piano Competition. He holds degrees from the Oberlin Conservatory of Music, the scherzo movements are perfectly juxtaposed with the the Juilliard School, and Rice University. He now teaches at Oberlin Conservatory. dramatic “Elegia” and “Romance.” The playing is full ELIZABETH MOAK is a pianist and recording artist who performs as soloist of color and depth, creating a canvas that showcases throughout North and South America, Asia, and Europe. An Associate Professor sparkling passagework alongside the delicate and intimate at the University of Southern Mississippi, Moak studied at Peabody Conservatory textures. This album will surely be a delight to avid with Fleisher, Martin, and Schein. consumers of chamber music and casual listeners alike. NICHOLAS PHILLIPS is Recordings Editor for the Piano Magazine and Professor at the University of Wisconsin–Eau Claire. He has performed in solo —Sarah Rushing recitals across the United States and abroad, is an active recording artist, and is a regular presenter at national and international conferences. SARAH RUSHING is Assistant Professor of piano at West Texas A&M University. She enjoys playing music off the beaten path. Her research focuses on the piano works of Debussy and Brahms. JASON SIFFORD is a freelance teacher and pianist based in Iowa City. He is also a frequent presenter and adjudicator and serves as composer/clinician for the Willis Music Company. Spring Issue 2021 Vol 13 No 1 / 67 DISCOVER LIFE IN MUSIC

�E ducation is the great engine of personal development…� – Nelson Mandela

by Jennifer Snow

A year ago, we faced the decision to move NCKP 2021 There is a Preconference day dedicated to sessions in both to virtual from our traditional in-person event. At the time, languages and selected sessions on the Main Conference, it seemed like a radical idea as we were blinded by the strengthening our international exchange of ideas. unknowns of the pandemic and how our community would adjust. A year later, it is amazing to witness the extraordinary We are honored to present world-renowned concert artists innovation in our field. NCKP 2021 Virtual is positioned to throughout the main program. Garrick Ohlsson has be the largest, most diverse, and valuable conference we generously agreed to be a part of NCKP 2021 Virtual with have ever held. Launching the call for proposals for a virtual a live-streamed concert. Renowned pianist Anne-Marie conference was a leap of faith that resulted in the largest pool McDermott will bring her artistry and insights as an arts of proposal submissions in the history of the Conference. leader to the program as will Peter Dugan, the new host of The National Program Committee had the challenging task NPR’s “From the Top” and a trailblazing artist. Isata Kanneh- of diligently reviewing a wide pool of excellent proposals and selecting the program. The themes that emerged reflect deeply the very relevant ethos of the Conference focus— “the transformative power of music.” Such overwhelming support and belief in our innovative new approach gave us the “wind in our sails” to create a program that is diverse, progressive, insightful, and inspiring. We are very grateful for the dedication of the NCKP 2021 National Program Committee, all of whom gave generously of their time and expertise to shape a program that encompasses innovative pedagogy, performance, social justice, diversity, neuroscience, research, community engagement, technology, advocacy, and more. Full access to the sessions for two weeks following the Main Conference “gathering” (July 27–31, 2021) will allow attendees to experience the maximum number of sessions at their own pace. In addition to a dynamic Main Conference program, the Preconference program is scheduled over a two-week period from July 13–27, 2021, allowing participants to experience workshops on specific topics. The outstanding service of the Preconference committees has resulted in dynamic sessions with leaders and experts. The virtual conference expands to include our Spanish- and Portuguese-speaking colleagues from around the world.

68 / PIANO MAGAZINE DISCOVER LIFE IN MUSIC

Mason brings her artistry from the U.K. to our own homes students. Global availability through the online platform through the online platform, and innovator Shani Diluka will makes NCKP 2021 more accessible for many more inspire us with her innovative fusion of Classical repertoire attendees. The opportunity to gather, connect, and interact and traditional Indian improvisation. All of the keynote throughout the Conference will be a familiar benefit within speakers, Afa Dworkin, Karen Zorn, Joseph Conyers, and a new context. The staff at the Center is working tirelessly Gary McPherson are international leaders who bring insights and creatively to build an enjoyable community experience to activate us in our own practice as we strive to harness the including gamification with a wide range of prizes, interactive power of music. In addition to the headliners, NCKP 2021 exhibit hall, showcases on the latest resources and products, will highlight PedX-10 with inspiring and innovative discussion pods, and social gatherings to connect with sessions that challenge the boundaries between art, friends and build new connections. We have created the pedagogy, service, advocacy, equality, diversity, technology, NCKP Support Fund for Student Scholarships and Colleague and entrepreneurship. Support Grants to facilitate access for attendance. We are thrilled to recognize four outstanding colleagues We recognize that NCKP 2021 Virtual is an opportunity of with the France Clark Center Lifetime Achievement Award. the present and the future. We welcome everyone to attend Nancy Bachus (posth.), Gail Berenson, Tony Caramia, and I personally look forward to engaging in new and and Phyllis Lehrer have each made extensive contributions exciting ways. The growing enthusiasm for the Conference to the profession. We invite you to join us for the Awards is evidence that continuing education is a core value within Ceremony and Reception as we honor these exceptional our professional community. The Conference will provide leaders in our field. intensive professional development, meaningful discovery, and an exciting environment as we strengthen our networks One of the most exciting aspects of the virtual conference and further empower our profession. is expanding participation for more colleagues and

NCKP 2021 THE PIANO CONFERENCE VIRTUAL GARRICK ANNE-MARIE PETER Celebrating the Transformative Power of Music OHLSSON MCDERMOTT DUGAN Join us for an inspiring and innovative conference

PRECONFERENCE MAIN CONFERENCE JULY 13–27, 2021 JULY 28–31, 2021

Transformative keynotes, brilliant performances, SHANI AFA KAREN inspiring PEDx sessions, and leading experts DILUKA DWORKIN ZORN exploring a wide range of topics and issues. Experience immersive programming, increased access, and networking opportunities. We welcome you to engage and connect with colleagues from GARY JOSEPH ISATA around the world. MCPHERSON CONYERS KANNEH- MASON

REGISTRATION NOW OPEN AT NCKP2021.COM

Spring Issue 2021 Vol 13 No 1 / 69 TEACH QUESTIONS & ANSWERS by Craig Sale

Q I’ve enjoyed your Frances Clark Center webinars on preparation activities. I am unsure of what activities I should do with and without the keyboard and would appreciate some specific ideas and guidance.

A QThe key element in preparation activities is experience! • Ask students to consider and describe these changes Before encountering a new musical concept in a piece, the in tempo as they relate to riding in a car or on a bicycle. student should experience that concept through hearing Then, ask them to transfer that feeling to a section in what it sounds like and feeling what it feels like to play it a piece. (or through expressing the sound with their body). This is when teachers can create fun, short, “out-of-the-box” • Lead the student through a series of playbacks using activities for the student to do in lessons leading up to the a five-finger pattern in which there is slowing down, presentation of that concept in a new piece of music. pausing, and returning to tempo. This could become a game in which the teacher plays and the student describes There is no set way to prepare any concept. Regardless of what happens, or teacher and student could switch roles! the concept, the teacher should consider these questions: Preparation ideas for crescendo and decrescendo included: “For this concept, how can I provide experiences for the student that involve hearing?" • Allow the student to express each concept with their body—crouching down low for soft sounds and standing “For this concept, how can I provide experiences for the tall with outspread arms for loud sounds—while the student that involve feeling?” (Not just feeling with the teacher plays examples of crescendo and decrescendo. fingers, but perhaps with larger muscles or other parts of the body?) • Play five-finger patterns, hand-over-hand triad tones, etc. that get louder and softer and ask the student to imitate In one of the last year’s summer seminars presented by the your playing. & Frances Clark Center, participants brainstormed about types of preparation activities they could do for specific • Copy the teacher's demonstration of tapping and counting musical concepts. Listed below, their answers demonstrate a rhythm, which vocally express crescendo and decrescendo, the range of possibilities and are certainly not exhaustive. • Describe the sound and imitate, at the piano, the teacher’s Ideas for preparing students to encounter ritardando, demonstration of a crescendo in a previously learned piece. fermata, and a tempo included: Then, write an indication to “get louder” in the music. • Involve the student in slowing down, pausing, and returning to tempo through demonstration using previously learned pieces. This could be experienced without much discussion in a teacher/student duet, or ritardando, fermata, and a tempo could be explored in work on a solo piece. • Lead the student in marching/movement activities in which the speed of their gait might slow down, pause, and then return to speed.

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Preparation activities for triplets included: Developmental theories show that children learn best through these types of concrete, sensory experiences. • Do several weeks of clapbacks using triplets (and When a concept is experienced with the ears, and previously learned rhythmic values). the hands, or even the whole body, before it is ever seen • Do playbacks with five-finger patterns using triplets and or named, the learning is certain to be more secure previously learned rhythms. and meaningful. • Invite the student to march a steady beat while hearing music using triplets. CRAIG SALE is Senior Editor for Piano Magazine and • Recite a rhyme that uses triplets while marching in steady Director of OnlineA Courses for the Frances Clark Center. quarter notes. He studied piano pedagogy at the New School for Music Study from 1981 to 1983. • Use words (like “straw-ber-ry”) to vocalize the new rhythm during clapping or playing activities. • Do improvisations using the new, as-of-yet unnamed & and unseen, rhythm.

Spring Issue 2021 Vol 13 No 1 / 71 AD INDEX The Piano Magazine: Clavier Companion (ISSN 1086-0819), (USPS 013-579) is published quarterly by The Frances Clark Center for Keyboard Pedagogy, 90 Main Street, P.O. Box 651, Kingston, NJ Belmont University 11 08528. Periodicals Postage Paid at Kingston, NJ, and at additional mailing offices. Printed in USA. Coastal Carolina University 51 Contents © 2021 by the Piano Magazine. All rights reserved. None EPTA - Spain 71 of the contents of this magazine may be duplicated or reprinted Faber Piano Adventures 30–31 without advance written permission from the publisher. The statements of writers and advertisers are not necessarily those of Frances Clark Center: Piano Magazine Collegiate Writing Contest 7 the Piano Magazine, which reserves the right to refuse to print any submitted advertisement. Frances Clark Center: Courses 25 Subscriptions and Circulation Goshen College Music Department 29 Subscription rates are $36.00 for one year, $68.00 for two years, Indiana University Jacobs School of Music 23 $12.99 for single copies, $26.00 for individuals in groups of five or more in the US. Rates include shipping. Kapok Press 61 Canadian subscription rates are $42.00 US funds for one year, Kawai America 17 $80.00 US funds for two years. Foreign subscription rates are Keys to Imagination LLC 37 $49.00 US funds for one year, $94.00 US funds for two years. All non-US subscriptions payable by Visa or Mastercard only. Lisa Wold 64 Claims for missing copies cannot be honored after 60 days. Please allow a minimum of four weeks for a change of address Malone University 35 to be processed. Maranatha Baptist University 47 Address subscription and change of address inquiries to: The Master’s University, School of Music, Piano Pedagogy Program 68 Piano Magazine, Frances Clark Center 90 Main Street, P.O. Box 651 Music Teachers National Association 41 Kingston, NJ 08528 Toll-free: 1-800-487-6188 Music for Young Children 57 [email protected] My Music Staff Inside Front Cover Advertising National Federation of Music Clubs 9 Address advertising correspondence to: Sarah Jenkins NCKP 2021: The Piano Conference Virtual 69 [email protected] Neil A. Kjos 65 Editorial Piano Buyer 59 Address letters to the editor, content, and editorial correspondence to: Piano Explorer 27 Pamela Pike [email protected] Piano Magazine Marketplace 48–49 Please visit our website at claviercompanion.com for manuscript Piano Street 55 submission guidelines. The publisher does not assume Royal Conservatory of Music 45 responsibility for return of unsolicited manuscripts, photos, or artwork. Unsolicited letters to the editor, articles, and other Royal Conservatory of Music Back Cover editorial matter will be edited at the discretion of the editorial staff. The Piano Magazine reserves the right not to publish any material School of Music, California State University, Fullerton 53 deemed inappropriate by the publisher. Seattle International Piano Festival and Competition 44 POSTMASTER: Send address changes to: Taubman Piano Festival 14 Piano Magazine 90 Main Street, P.O. Box 651 University of St. Thomas 63 Kingston, NJ 08528 Vanderbilt Blair School of Music 20 CPM 40065056 ISSN 1086-0819 Yamaha Corporation of America Inside Back Cover Canadian Post Publications Mail Agreement #40065056 Canadian Return Address: DP Global Mail, 4960-2 Walker Road, Young Artist Piano Camp 70 Windsor, ON N9A 6J3

The Frances Clark Center for Keyboard Pedagogy is a not-for-profit educational institution (501c3) that serves the advancement of piano teaching, learning, and performing through highest quality resources, initiatives, and programs. The Center includes: The National Conference on Keyboard Pedagogy, the Piano Magazine, The New School for Music Study, and Teacher Education Programs. The Frances Clark Center was founded in 1998 to advance the philosophy of world-renowned teacher and innovator Dr. Frances Clark. Dr. Clark believed passionately in the transformative power of music making in the life of every person, regardless of age or ability, and that the quality of a person’s musical life was directly attributable to the quality of teaching they experienced.

72 / PIANO MAGAZINE EMPOWERING TEACHERS TODAY POWERS THE MUSIC OF TOMORROW As an educator, one of the most impactful ways to improve is by educating yourself. That’s why the Yamaha Educator Suite (YES) helps music teachers access professional development opportunities, music teacher resources, program health support, advocacy assistance and more. YES brings you a network of like-minded teachers, experts and professionals, who want to help you achieve your goals. Let us help you raise the bar. Go to YamahaEducatorSuite.com

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