Free Music Resources

Adult Students--Recital Ideas for March 2025

March 2025 Music Tells Stories

In March 2025, my adult students will get together and share music that tells stories. Here is a list of suggestions that are at an intermediate level (mostly).

Folk ballads are a form of folk songs. Folk songs are a broader composition of lyrics and music, while ballads set a story or a poem to music. Ballads are meant to be sung accurately, with attention to lyrics and melody. They have fully adapted songs, but emphasize the lyrical stories being told.

https://folkways.si.edu/logan-english/the-days-of-49-songs-of-the-gold-rush/american-folk-historical-song/music/album/smithsonian

Sweet Betsy From Pike

Clementine

https://folkways.si.edu/logan-english/kentucky-folk-songs-and-ballads/american-folk/music/album/smithsonian

https://folkways.si.edu/classic-american-ballads/american-folk/album/smithsonian

Frankie and Johnny

John Henry

https://en.wikipedia.org/wiki/Category:American_folk_songs

https://www.classical-music.com/features/works/best-american-folk-songs

This Land Is Your Land

The Wayfaring Stranger

Simple Gifts

Home on the Range (from the poem “My Western Home” composed around 1872 by Dr. Brewster M. Higley

Big Rock Candy Mountain (hobo-ing story)

https://ultimateclassicrock.com/story-songs/

Program Music

https://www.talkclassical.com/threads/program-music-for-piano.8604/

https://en.wikipedia.org/wiki/List_of_program_music

https://www.britannica.com/art/program-music

Links to Piano Music Books or pdfs

Bell, Angeline, My Quirky Notebookl , Link for purchase, King Arthur, also see YouTube

Bell, Susan Staples Music: Dreams in Ruins, and Castle Tales with pieces like Castle Tales from Elementary to Intermediate that all tell stories. Pieces like The Chase is On, Defender of the Realm, Journey to Castle Roche, Black Knight's Ride, Race for the Flag, Story of True Love, Waiting for Your Return, and more. Link

Dow, Andrea, Beauty and the Beast, “The Stolen Rose Solos” retells the 19th century version of Beauty and the Beast through eight classical-pop piano pieces. Link

Fairchild, Amy, website, Book 1 (YouTube links) , Book 2 (YouTube links) Stories are on the website that go with the music.

Gretchaninoff: Op. 98, link to IMSLP

Gurlitt: Opus 101, Link to IMSLP

Khatchaturian, “Adventures of Ivan” (Ivan sings, Ivan can’t go out today, Ivan is ill, Ivan Goes to a Party, Ivan is very busy, Ivan and Natasha, Ivan’s Hobbyhorse, A Tale of Strange Lands).

Norton, Christopher: The Final Frontier, Performance

Poe, John Robert: “Meanwhile back at the castle” (young beginners), “Meanwhile Back in the Enchanted Forest, Meanwhile Back in the Jungle

Price, Florence: Some delightful easier ones, Thumbnail sketches of A Day in the Life of a Washerwoman (advanced) Link to IMSLP, an orchestrated version link

Schumann: Op. 68, Link to IMSLP, choose #51556

Sideris, Nikolas, trios (six hands one piano) Dusk of Day/Dawn of Night, Link to video, Link to purchase, collection of 10 works for 6 hands (also look at Fairyland in Treble, link to video, titles include The King and the Dragon, A Playful Countess, The Bold Barber, Nola and Ayla in the Jungle, Dreams, The Duke and the Cook, A Deaf Girl’s Music Box, The Sorcerer and his Apprentice, Fife on the Moon, The Two Violins, The Pirates High Sea Games.

Spanswick, Melanie, “Ghostly Piano Tales: New Music for the Elementary Pianist” Link

Tschaikovsky Opus 39, no. 6,7,8: The New Doll, The Sick Doll, The Dolls Burial, Link to IMSLP, choose #07996

Others:

Let me Tell You a Story (Early Intermediate, Grade 2) Link

I Love to Tell the Story (Hymn based) Link. Here’s a link to the story:

Peter and the Wolf

The Moldau

Other possibilities:

Do enigma with Jonathan—two piano

Or schumann’s forest scenes

Invite Henry to play Anitra’s Dance from Peer Gynt

Liszt—- lots of ideas with poems  Va or literature inspiration 

Sibelius 

Have Fun with Six-hand Piano Pieces!

Six-hand piano pieces add excitement to lessons! In this article, I share how I plan a trio program to boost collaboration and fun. By grouping students by skill, choosing appropriate repertoire, and scheduling rehearsals, students improve timing and ensemble playing. I track progress with a sticker chart, creating a motivating and social learning environment. Includes repertoire tips and program timeline!

Trio Time!

Playing trios in group piano classes can be really fun! These students have been working together for a while and I was so proud of their performance in our class today! Congratulations to Charlotte, Michael, and Brooks for their work. They are playing the Victory Day Parade trio by Melody Bober.

2023 PTA Reflections Contest and Music Composition

Every year, the PTA Association hosts an arts contest. Students can enter visual arts, photography, musical compositions and more. I like to encourage my students to participate in this event with musical compositions. The theme this year was “I am hopeful. . . .” One of my students, Bailey Huff, wrote this piece and explained its inspiration below. I loved the thought she put into her piece and the symbolism of her music choices. Congratulations to Sloan Frischknecht and Leo Kinney who also participated in this year’s reflections contest.



1000 hours at the Organ!

In the spring of 2021, I learned about an organ scholarship program through the local American Guild of Organists from one of my piano students. Since he was young, Adam Baker had wanted to play the organ. His parents wisely told him that he needed to learn the piano and at least be able to play Bach Inventions. He stayed with me and progressed to Preludes and Fugues. When he decided to audition for this program, I contacted them to see if there was room for adults as well and if so, could I audition without hurting Adam’s chances of being chosen. I was encouraged to try out and promised that it would not affect Adam’s chances.

I showed up in Washington D.C. and played a Bach Prelude and Fugue, a Beethoven Sonata, a Romantic piece, and a hymn. I was asked to sight-read a piece. Several months later, both Adam and I received word that we had been chosen for the scholarship and were given information about our teachers. He would study with Carol Feather Martin, Arlington and I would study with Dr. David Kelley in Vienna, VA. At the end of the school year, we would participate in an AGO recital.

My dad is an organist and I grew up with an organ in our home. My dad practiced regularly and he played the organ at church. Sometimes he and my mom would play organ-piano duets. Growing up, I focused on the piano. I wish I had taken advantage of that great instrument in our home, but I’m glad I honed my piano skills.

Organ lessons began in November 2021. The practicing requirement was at least 5 hours a week. I committed to that until my husband asked if I was just going to do the minimum. At that point, I decided to shoot for 10 hours a week. I tracked my practicing every day and kept track of the cumulative hours. When it became evident that I was going to hit 1000 hours and could maybe complete it before my two year mark, I decided to make that my goal which I accomplished on 11/10/23!

During the past two years, I have had the opportunity to play many organs. See the list below and the gallery pictures.

It has been two years of fantastic instruction and progress. I know I still have far to go, but I feel that what I offer my church congregation is much more than I did before. I feel much more confident using the pedals, setting registrations, and programming registrations for a piece. I have learned many pieces and have found a lot of joy in sharing the pieces with friends and family.

In 2022, I certified at the Service Player level with the American Guild of Organists (AGO). In 2023, I completed the certification requirements for Colleague Level with the AGO.

I appreciate very much two grants I received from NVMTA and MTNA to support my efforts as well as the initial scholarship through the local AGO chapter and the service of my teacher during this time. I am so grateful to my teacher, Dr. David Kelley for his patience, expertise, repertoire suggestions, history and theory discussions.

I have enjoyed performing organ pieces for my students at their piano recitals. I think it reinforces that I am still working on gaining new skills. I hope that I’m a positive model for sharing music with others.

I have learned a lot in the past two years—-more than just organ skills—

  1. A teacher’s role in inspiring their students.

  2. Attention to detail and musicality—this has been an inspiritation to me that has spilled over into my piano teaching.

  3. Reinforced lessons on the value of diligent, regular practicing.

  4. Sympathy to students working on a hard section. I have learned a lot of patience. For example, I began learning the Bach Prelude and Fugue in gm BWV 535 in December 2022. I am still working on a couple of sections that are particularly difficult. I’m close to mastering them, but it has definitely been a piece that has required patience and hard work!

  5. I have been intrigued by the learning process and how I can begin a piece barely going at a rate of 50 beats per minute for an 8th note and then gradually being able to process the music faster with my brain, fingers and feet until it’s at a performance level. The process is fascinating.

  6. I have learned some new music skills (related to piano as well as organ): transposition and modulation— and I have gained some great experience with new organ repertoire.

  7. I have learned hymns from other churches and gained an appreciation for the faith of others.

  8. I have met and gained new friends.

I was very pleased that another student, Bradley McMullin was chosen to participate in the scholarship program in 2022-2023 studying with Dr. Ben Kesely. Both he and Adam progressed so much in their studies.

My recordings can be seen on my YouTube Channel.

I plan to continue adding new pieces as I get them to performance level.

Repertoire since about March 2023 (does not include CAGO repertoire except for Minuet Gothique)

Widor Symphony No. 5 Mvt. 4 Adagio https://youtu.be/PixnAs-1QPo

Minuet Gothique https://youtu.be/HcETbhxMY70

A Mighty Fortress Hymn 68 https://youtu.be/SV_Wu-pQpcY

Ein Feste Burg ist Unser Got https://youtu.be/A2gQDLR8ncA

It is Well With My Soul https://youtu.be/38vbTfd6XCo

Buxtehude Prelude, Fugue, and Chaconne https://youtu.be/1f-hIaUq3Jg

Encore:  Locklair's Thy Peace May Be Exchanged https://youtu.be/Df59YrAUQPI

My current repertoire projects include the following:

Sweelinck Echo Fantasia (Aeolian)

Bach Prelude and Fugue in Gm BWV 535)

Boyce Voluntary I in DM

Brahms Chorale Op. 122 No. 2

Radetzky March by Straus

Toccata Brevis by Dan Gawthrop.


Gallery guide for organs I have played (some of these are not pictured):

Rome, Italy

Old Dominion University, Norfolk, VA

Greek Orthodox Church, Norfolk, VA

Barcelona, Spain

Christ Church, Alexandra, VA

Washington, D.C. Basilica with Clay Christensen

Taylor and Boody Organ factory Staunton, VA

St. Anthony of Padua Catholic Church, Falls Church, VA

Columbia Baptist Church, Falls Church, VA

St. Michael’s Episcopal Church, Arlington, VA

Faith Luthern Church, Arlington, VA

LDS Stake Center, McLean (Allen)

LDS Arlington Ward (Rogers)

St. Agnes Catholic Church, Arlington, VA

St.George’s Episcopal Church, Arlington, VA

Holy Comforter Episcopal Church, Vienna, VA

St. Mary’s, Arlington, VA

Unitarian Church, Arlington, VA

Mt. Olivet Church, Arlington, VA

First Presbyterian Church, Arlington, VA

Wannamaker organ, Philadelphia, PA

Student Accomplishments 2022-2023


NVMTA Fall Festival

Kyla Dorotheo, Sloan Frischknecht, Nolia Landrigan, Lawrence Madi, Henry McMullin, 

Sarah Ott, Shi Chong Zhao


Alma Grayce Miller NVMTA Composition Competition

Peter Hinckley 3rd Place


NVMTA Theory Mastery Day 

Students who achieved over 90% in bold, level in parenthesis

Peter Hinckley (9), Walker Schmidt (9), Sloane Dorotheo (6), Henry McMullin (6), Lawrence Madi(6), Samantha Follain (3A), Lyda Landrigan (3A), Nolia Landrigan (3A), Kyla Dorotheo (2A), Amara Maddux (2A), Sloan Frischknecht (1B), Sarah Ott (1B), Kenneth Velikonja (1B), Maya LeBlanc (1B), William Ackerman (1A)

NVMTA Bach/Baroque

Henry McMullin, Sammy Follain, Shi Chong Zhao


How to get the most out of Practicing

You just got a new piece at your lesson! Now what?

Let’s say you want to have the assignment learned well by your next lesson. Maybe it’s the whole piece, but it could also be a smaller section that is assigned. Here are some steps you can take to be effective in your practicing:

  1. Plan to practice the piece EVERY DAY!

  2. On the first day, look it over carefully. What key is it in? What is the hand position? Are there tricky rhythm spots (write out the counting on those and try tapping it). Practice hands separately. If there are hard spots, isolate those until you can do them well.

  3. Even before putting hands together, play with dynamics (p, mp, mf, f, crescendos etc) and pay attention to rests, accidentals, and articulation (like slurs and staccatos)

  4. Divide the piece into sections that are small and start work with hands together. It’s o.k. to go slowly. Pay attention to the detais, be as accurate as possible. For example, do measures 1-2 until you can do it perfectly. (go slowly enough so that you can). It might take 5 times or 10 or maybe just 3.

  5. Gradually play faster (if you can keep it accurate). Use the metronome to be methodic about going gradually faster. Work on one small section at a time. You might play the “Line Game” where you have to play the line perfectly. If you make a mistake you start over. It’s fair to go a little slower with the metronome. (M&Ms or Kix or Cheerios or small stickers when a line is mastered works well!) I like to write my metronome speeds on my music. It is very gratifying to know that once 50 was really hard, but now I can do it at 100!

  6. If you have 3-4 new pieces during the week, follow this same process with each piece. Target having the assigned portion completed on your 3rd or 4th day of practice during the week. Then, you can solidify it on the remaining days before your lesson.

Students can ask themselves questions which will help make practice more effective such as, “Which part of the piece was the hardest?” “How could we divide this piece into sections—-and then you just work on one or two sections today?” (parents can ask students these questions too!)

For new piano students, the following ideas can be hepful during practice

  1. Clap and count the rhythm

  2. Tap correct fingers on the piano

  3. Name the note letters while you play

  4. Count aloud while you play

  5. Sing while you play

  6. Hands separately

The value of slow practice

Slow practice allows the student to process detais. I’ve noticed this in my own practicing. I can save myself so much practice time if I slow down and notice EVERYTHING. A good plan is to play slowly, play medium, play fast (even if you make mistakes), go back to medium and then slowly (with lots of accuracy).

Varying the style

Another way to change up practicing is to vary the touch or the volume. Play the section with all staccato notes or all legato notes. Play it in a different octave for a different sound. Play it loudly or very softly.

Appreciation

When I was a child, I valued my parents praise and enjoyment for my practicing. I often practiced before school when my parents were still in bed, but my mom would mention how much she enjoyed my music. That was very motivating for me. Little notes on pillows expressing how proud you are of your child’s music work and efforts is a nice touch.

Regular Daily Practice Time

Having a regular time when practice is expected is so helpful for developing good practice habits. Some students thrive with charts or stickers. For the past almost two years, I have been practicing about 10 hours a week on the organ. I try to get it done first thing in the morning before other things take over my day. I record my time each day and sum it up so I have a running tally. I love seeing how much time it took me to get where I’m at now.

What are your ideas? What has worked for you? Please share below!

YouTube Links and Theory Practice links

1. Whole Steps and half steps : Whole steps and half steps are the building blocks for figuring out scales.

Exercises: (coming)

2. Pentascales: Pentascales are five finger scales. Learn how to play them starting on any note, white or black.

3. Pedaling Proper pedals helps to connect notes for a smooth sound. It also adds richness to your playing. Done incorrectly, it leaves gaps of sound or muddiness which you want to avoid.

4. Major Key Signatures Watch this for an easy way to remember key signatures for scales with either sharps or flats.

5. Writing Sharps on the Staff, Learn the order of sharps and where to place them on the treble and bass clefs.

6. Writing Flats on the Staff, Learn the order of flats and where to place them on the treble and bass clefs.

7. Writing the Circle of Fifths. Learn how to draw the circle of fifths, about the rule of 7, and an easy way to remember how many sharps or flats a keys has.

8. Super Helpful List of links for Theory practice by levels

Student Accomplishments 2019-20

award.jpg

Fall Festival

Underlined and bold means superior from both judges. 

Jack McNair, Bradley McMullin, Qing Shuang Downing, Quinn Downing, Adam Baker, Lawrence Madi, Peter Hinckley, Jake Understein, Sam Youkeles, Walker Schmidt, Henry McMullin, Sloane Dorotheo, Ellie Cox

PTA Reflections Composition Contest

2019:  Peter Hinckley-1st place in High School, 1st place in Fairfax County

Alma Grayce Miller NVMTA Composition Competition

JO LOMBARD AWARD 2nd PLACE ($75), “Soliloquy”

Peter Hinckley

Theory Mastery Day

Students who achieved over 90% in bold, top four scores**, level in parenthesis

Jake Understein (1B)**, Ellie Cox (1B)**, Myla McNair (2B)** Sam Youkeles (7)**, Lawrence Madi(3A), Walker Schmidt (6), Qing Shuang Downing (4), Sloane Dorotheo (4), Jack McNair (5), Katie Dinkelman (5), Henry McMullin (4), Bradley McMullin (8), Adam Baker (6), Peter Hinckley (6), Liam Carey (6)

Bach/Baroque

Student who achieved superior in bold

Bradley McMullin, Sam Youkeles, Peter Hinckley, Henry McMullin, Jake Understein, 

Qing Shuang Downing, Lawrence Madi, Quinn Downing

Solo Recitals

Elizabeth Zuckerman, Lawrence Madi, Dot Chan

Sonata Festival

Students (in bold) were chosen for second round to be considered for Honor’s Recital

Lawrence Madi, Liam Carey, Jake Understein

Sam Youkeles, Henry McMullin, Sloane Dorotheo, Qing Shuang Downing, Quinn Downing, Peter Hinckley, Cameron Ake, Bradley McMullin, Jack McNair

40 Challenge

Henry (100), Elizabeth (91), Bradley (79), Lawrence (55), Peter (52), Jake Understein (40)

Online Piano Lessons Reflections

Hooray! We’ve completed two months of online lessons. I’m very proud of my students for their hard work, effort, and ability to adapt to the conditions imposed by Covid-19. They worked diligently on their Sonatas and Sonatinas for the Northern Virginia Music Teachers Association Sonata Festival. They focused on their technique requirements for Achievement Day. In addition to weekly private lessons, we had two online class lessons—-one in April to celebrate Beethoven and get acquainted with some of his most famous music (built into a jeopardy game), and another in May to practice with lead sheets and some bass accompaniments and some rhythm work. We divided into breakout rooms for some practice performances for the Sonata Festival. Soon, my students will present their recital pieces in an online recital. Additionally, three young students (ages 8, 8, and 9) will complete Solo Piano Recitals (online) by mid-June.

I miss having students come to my door. It is easier to teach in person and I’m able to give them sight-reading projects more easily. But with online lessons, I feel that the students have been a little more independent in writing comments in their music (fingerings and dynamics etc.). They must follow my directions carefully to find the measures we need to work on and they are learning to play the specific measures I ask for so that we can use our time effectively during the lesson. It’s also easier to demonstrate and have them play back to me. Plus, my lesson notes are 100% legible since I’m typing the lesson assignments. I’m grateful I’ve been able to continue seeing them regularly during these unusual months.

The first photo below was taken during the high school student’s class lesson. They are each working independently on a lead sheet project which they shared after a few minutes of independent work.

The second photo is the intermediate group.

Group 3 Class Lesson May 2020 no names2.png
Group 2 Class Lesson May 2020  no names copy.png

Music and Art Competition During Coronavirus

Schools and gyms are closed. Church is cancelled. All sports and entertainment events are postponed. Everyone is social distancing.

BUT, PIANO STUDENTS are: Practicing preludes, Studying sonatas, Passing off Pieces, Sharing Songs, Creating compositions, Performing pieces, and Interacting online

March brought a music/art competition to my studio and five of my students participated. I am delighted to share their beautiful art work and recordings of the music that goes with the art. Their happy smiles will warm your heart.

Christmas Holiday Music Competition Results

Christmas links.jpg

During December, I was very proud of my students who passed off 124 Christmas songs well enough that family or friends could sing along with them! Twenty-three students contributed. There were 13 students on the red team and 10 students on the green team.

Congratulations to the green team who passed off 63 pieces. The red team was very close, passing off 60 pieces.

The four students who passed off the most pieces in the studio and the number of pieces they passed off were Adam (18), Henry (15), Peter (14) and Ellie (9).

The most frequently played piece was Joy To the World with 9 students. There was a tie for second place with 7 students each doing Silent Night, Good King Wenceslas and Away in a Manger.

Here is a list of pieces that were played along with their frequency:

(9) Joy To the World

(7) Silent Night, Good King Wenceslas, Away in a Manger,

(6) Jingle Bells

(5) Deck the Halls, O ComeAll Ye Faithful, Hark the Herald Angels Sing, Angels We Have Heard On High,

(4) We Three Kings, The First Noel, Jolly Old St. Nick, It Came Upon a Midnight Clear

(3) O Christmas Tree, Go Tell It On the Mountain, What Child is This, O Little Town of Bethlehem

(2) Greensleeves, Carol of the Bells, With Wondering Awe, With Wondering Awe, When Joseph Went to Bethlehem, Stars Were Gleaming, Samuel Tells of Baby Jesus, Once in Royal David’s City, Little Jesus

(1) Bring a Torch Jeannette Isabella, Far, Far Away on Jedea’s Plains, I Heard the Bells, Mary Had a baby, Sleep Little Jesus, Twelve Days of Christmas, Up On the Housetop, While Shepherds Watched Their Flocks, Who is the Child, Come Little Children, Do You Hear What I Hear, Feliz Navidad, God Rest Ye merry Gentlemen, O Holy Night, Santa Clause is Coming to Town, Sleep Well Little Children, The Little Drummer Boy, There’s No Place Like Home, Toyland, We Wish You a Merry Christmas.

Green Team: Adam, Bradley, Daphne, Ellie, Henry, Jack, Magnolia, Quinn, Terry, Walker

Red Team: Cameron, Elizabeth, Hollie, Jake, Katie, Lyda, Myla, Penny, Peter, Qing Shuang, Sam, Sloane, Valerie.

Nice work everyone! I thoroughly enjoyed listening to such beautiful music in December!

Frequency of Christmas Songs

Pianist recommendations on Youtube

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It is often helpful to listen to recordings of intermediate and advanced pieces when learning a new piece. A student doesn’t need to copy the same performance, but much can be learned from various interpretations. It is a great learning experience to compare performances. It also helps to focus on the performer’s expression and articulation, musical aspects that set true artists apart.

The following list came from a group of piano teachers when asked what top five pianists they would want their students to listen to. The ones with stars were mentioned frequently and are among my favorites. Click on the links to see who they are and listen to some of their music.

Agerich, Martha** playing a Schumann piano concerto

Ashkenazy, Vladimir playing Chopin Preludes

Campaner, Gloria playing Rachmaninoff Piano Concerto No. 2

Fleisher, Leon playing Bach Capriccio BWV 992

Gilels, Emil* playing Beethoven Piano Sonata Op. 101 No. 28

Horowitz, Vladimir**** Playing Mozart Concerto No 23

Kissin, Evgeny* playing Paganini’s La Campanella

Lang Lang playing Chopin Polonaise in Ab Op. 53

Letsitsa, Valentina* playing LIszt’s Hungarian Rhapsody No. 2

Li, George playing Saint Saens Piano Concerto No 2

Perahia, Murray*** Playing Beethoven’s Moonlight Sonata Mvt. 3

Rubenstein, Artur*** playing Grieg Piano Concerto in am, Op. 16

Trifonov Daniil** playing Schumann Kreisleriana, Op. 16

Uchida, Mitsuko**** playing Mozart Piano Concerto in dm, K. 466

Van Cliburn* playing Tchaikovskky Piano Concerto No. 1 in bb m, Op. 23

Viardo, Vladimir playing Schubert/Liszt

Wang, YuJa** playing Brahms Piano Concerto No. 2 in Bb M Op. 83

Watts, Andre playing Debussy

Zimmerman, Krystian*playing Beethoven Piano Concerto No. 4 in GM, Op. 58

Success at the Piano

goal charts.jpg

Introduction

Some might say that receiving awards or winning competitions constitute success at the piano. Others might say that easy facility of playing whatever piece is placed in front of you means that you have been successful. Does success mean that people pay to hear you play or that you get thousands of “likes” on youtube? There are only a handful of people who reach these levels. But, there are many levels of success that can be accessible to anyone who is willing to put forth effort and time. Let’s talk about some of them.

What is Success

Success: Learning something you didn’t know before. Students come to their first lesson, perhaps not even realizing that there are groups of two and three black notes on the keyboard. Maybe they have no idea where A, B, or C are on the keyboard. But, it doesn’t take long until those concepts are learned. Pretty soon, students are having other “ah-hah” moments in their pieces.

Success: Accomplishing milestones. Students feel success when they complete a book or pass a theory test (regardless of whether it is Level 1A or Level 8). It is my hope that students feel success at recitals. I hope they can feel proud of their performances and how it represents the work they have put into the studies. Participating in festivals or other events also helps students feel successful.

Success: Understanding and Insights. Students feel successful at class lessons when they understand the theory concepts we are talking about, or they can contribute their experiences of learning to do something, or they perform a piece for their peers and are pleased with it. I love it when students apply concepts they have learned in their theory lessons to their music. Ah-hah moments are THE BEST!

Success: Accomplishing something you wanted to do. Sometimes students come to lessons and say, “I want to play. . . . .” We get the music and after they have worked on it and can play it at a performance level, they feel that sense of accomplishment and the results of their efforts. Success is setting goals. Having the self-discipline to dedicate time to the goal. It is following instructions carefully. It is enduring when the end seems far off. Success: Working hard for something. A small tangible way to mark progress is with stickers or passing off portions of pieces.

Success at Home

Verbalize your positive feelings. What can parents do at home to help students feel success? Thinking about to my growing up years and taking piano lessons. My mom checked in with me daily about practice. Mostly, her method was something like this, “I really enjoyed lying in bed and listening to you play (fill in the blank).” I did most of my practicing in the early morning and it was what my mom woke up to. She also wrote little notes to me regularly telling me how proud she was of my efforts and how beautiful my music was. These meant a lot to me. Recently, I noticed a similar note in a student’s bag from his mom. I loved that!

Create Opportunities to Share. Providing opportunities for your child to perform for others also takes the joy of music beyond the home to grandparents and other extended family. Play everywhere: church, facetime or skype, on vacation. I was traveling once with my sister and she got so excited when she saw a piano at an airport. She plopped right down and played. It was wonderful. Being able to share music with others helps one to feel successful. If you play the piano (or sing, or play another instrument), find time to make music together or collaborate with other friends or family members.

Conclusion

I love being a part of these successful experiences with my piano students. This is why I make a chart for the wall as we get ready for events so they have solid goals they are working toward. This is the reason for practice charts in their lesson assignment books. This is why we have recitals and why students perform for each other at class lessons. This is why I get excited when I can listen to them play a piece with beauty and I can just sit back in my chair and enjoy it. I hope each student can learn what it takes to feel successful moments and that they can feel that joy regularly.

Practicing with Young Children

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In 2018, I discovered WunderKeys, a piano approach for children as young as 4 years old. It is delightful with age-appropriate activities and well-planned graduated progress through the skills children need to develop as they learn about music and playing the piano. Here are some helpful tips to practicing with your young child:

The WunderKeys books are presented in a predictable sequence that makes it easy to practice with your child at home: simply read aloud the pages from the week’s unit of study, follow the directions as described and have fun!

WunderKeys books also include cut-and-play piano games that require coins and a die. The game instructions can be found on the back of each game board. Play the games (both past games and the game that corresponds with the current week’s unit) with your child frequently to review important concepts in an enjoyable way.

When your child starts piano lessons it is necessary to establish a predictable routine for home practice. Spending home time at the piano directly impacts your child’s progress. However, it’s not about “minutes spent on the bench” but rather how those minutes are used.

Here are some helpful tips for helping your young student at home:

  1. Leave the WunderKeys book open on the piano. Your child will be more likely to spend time at the piano if her materials are always visible. At this age, solo exploration (looking through the book on her own, engaging with the pictures, making up her own songs, etc.) are all beneficial activities.

  2. Find a predictable time of day when you can sit with her and assist her with practice. Preschool-aged children cannot complete effective piano practice alone, so she will need your guidance. Spending short amounts of time at the piano daily is much more beneficial than spending one long session at the piano once or twice a week.

  3. Help your child develop a sense of ownership over piano lessons by having her demonstrate what she learned in lessons and then allowing her to be “the teacher”. If lessons are “her thing” she’s more likely to gravitate to the piano on her own accord.

  4. Remember, at this age, exploration and enjoyment are more important than accuracy and perfection. Piano practice at home should be a happy “bonding on the bench” experience. While it is beneficial to return to previously-completed lessons, please note that working ahead in the book during the week can result in educational gaps that become problematic in the future.

  5. Continue her learning away from the piano. Preschool piano lessons build a foundation of knowledge and understanding upon which all further musical learning takes place. Relate the concepts she’s learning in her books to “real world” scenarios. For example, while folding laundry, have her create a pattern out of socks or, while outside, talk about the low and high sounds she can hear.

  6. If you do not play piano yourself, you can still practice the teacher/student duets with your child. Simply chant the lyrics to assist her in knowing when it is her turn to play, help her to find her hand position on the black key groups and practice her part of the duet.

  7. Engage in activities at home that build coordination, finger strength, and fine motor skills – play with play dough, practice cutting paper with scissors, work on correct pencil grip, use tongs or tweezers to pick up objects, etc.

Find out more about this program in my studio: https://www.rjohnsonpiano.com/products/introduction-to-piano-group-instruction

Famous Pianists, by Terry Burridge

(This is a contribution to the Johnson Studio Blog from one of my adult students. Enjoy!)

I grew up in a household where music was easily available to me.  We had a stereo and records of orchestral music and popular musicals, such as My Fair Lady.  We often sang in the car on long trips.  I studied piano from ages 8 to 13, which made it easier to return to playing many decades later.  As I grew older, I listened to the radio and collected recordings of popular musicians.

As part of my music theory homework, René has tasked me with finding out details of the personal and musical life of a number of prominent 20th century pianists and with listening to a performance by each person.  I prefer to find videos where I can watch (often in awe) the person playing the piano.  Below is one example of my research into four pianists.  I also have had several assignments in which I compared and contrasted the music of three composers, each from a different musical period.  These two types of assignments have allowed me to better understand the differences in the musical periods and how different pianists interpret the music of a particular composer.

Terry Burridge

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Martha Argerich was born in Buenos Aires, Argentina in 1941; she is 78 years old.  She is of Spanish and Russian descent.  She started playing piano at age 3; at 5 she began lessons with Vincenzo Scaramuzza, who stressed the importance of lyricism and feeling.  Her concert debut occurred at age 8.  The family moved to Europe in 1955, when she was 14, aided by President Peron appointing her parents to a diplomatic posts in the Argentine Embassy in Vienna.  There she studied with Friederich Guida, Stefan Askenase, and Maria Curcio.  She won the International Chopin Piano Competition in 1965 when she was 24.  She has recorded compositions by Bach, Liszt, Ravel, Rachmaninoff, Chopin, Schumann, and Prokofiev.  I listened to her 2016 performance of Liszt’s Piano Concerto No. 1 in E flat Major, with Daniel Barenboim conducting the West-Eastern Divan Orchestra.

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Daniel Barenboim, born 1942, is a citizen of Argentina, Israel, Palestine, and Spain.  He was born in Buenos Aires, Argentina, of Argentinian-Jewish parents.  He started piano lessons at age 5 with his mother, continuing to study with his father, who remained his only teacher.  He gave his first concert at age 7.  He and Martha Argerich were childhood friends in Buenos Aires.  In 1952, the family moved to Israel.  Two years later, his parents took him to Salzburg to take part in Igor Markevitch’s conducting classes.  During that summer, he also met and play for Wilhelm Furtwangler, who has remained a central musical influence and ideal for Barenboim.  In 1955, he studied harmony and composition with Nadia Boulanger in Paris.  He made his debut as a conductor in 1966 in London.  As a pianist, in the beginning of his career Barenboim concentrated on the music of the Classical era, such as Mozart, Beethoven, and Schubert, as well as some Romantic composers, including Brahms and Mendelssohn.  He recorded many chamber works, especially in collaboration with his first wife, Jacquelin du Pre, Itzhak Perlman, and Pinchas Zuckerman.  In 2015 Barenboim unveiled a new concert grand piano, in conjunction with Chris Maene and with support from Steinway & Sons.  The piano features straight parallel strings, instead of the conventional diagonally-crossed strings of a modern Steinway. He is currently general music director of the Berlin State Opera and the Staatskapelle Berlin.  He previously served as Music Director of the Chicago Symphony Orchestra, the Orchestre de Paris, and La Scala in Milan.  He is known for his work with the West-Eastern Divan Orchestra, a Seville-based orchestra of young Arab and Israeli Musicians, and as a resolute critic of the Israeli occupation of Palestinian territories.  I listened to a video of Barenboim, called “5 Minutes On...Debussy – Clair de Lune,”, in which he played the composition, but stopped at various points to explain what to listen for in the piece, before playing it in its entirety.

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Arthur Rubinstein was a Polish-American pianist who many regard as the greatest Chopin interpreter of his time.  He was born in Lodz, Poland (part of the Russian Empire for the entire time Rubinstein resided there) in 1887, to a Jewish family, and died in 1982.  At age 2, he demonstrated perfect pitch and a fascination with the piano, watching his older sister’s piano lessons.  By age 4, he was recognized as a child prodigy and the Hungarian violinist Joseph Joachim offered to supervise his piano education.  His father offered Rubinstein a violin, but Rubinstein rejected it.  In 1894, the 7-year-old Rubinstein had his debut with pieces by Mozart, Schubert, and Mendelssohn.  When he was 10, Rubinstein moved to Berlin to continue his studies, giving his first performance with the Berlin Philharmonic at the age of 13.  Joachim recommended Karl Heinrich Barth as the boy’s piano teacher.  In 1904, Rubinstein moved to Paris to launch his career, where he met Maurice Ravel and Paul Dukas.  He was not well received during a United States concert tour in 1906; by 1908, he was destitute and desperate, making a failed suicide attempt.  Subsequently, he said he felt “reborn” and endowed with an unconditional love of life.  In 1912, he made his London debut and found a musical home in the salon of Paul and Muriel Draper, in the company of Kochanski, Stravinsky, Jacques Thibaud, Pablo Casals, and Pierre Monteux.  He toured the United States again in 1937, remaining here during the World War II years.  Rubinstein was disgusted by Germany's conduct during the war and never played there again. His last performance in Germany was in 1914.  He became a naturalized US citizen in 1946.  Although best known as a recitalist and concerto soloist, Rubinstein was also considered an outstanding chamber musician, partnering with such luminaries as Henryk Szeryng, Jascha Heifetz, Pablo Casals, Gregor Piatigorsky and the Guarneri Quartet. Rubinstein recorded much of the core piano repertoire, particularly that of the Romantic composers. At the time of his death, The New York Times in describing him wrote, "Chopin was his specialty ... it was [as] a Chopinist that he was considered by many without peer." Due to deteriorating eyesight, Rubinstein retired from the stage at age 89 in 1976.  I listened to Chopin’s Nocturne Op. 9, No. 1 in B flat minor. Here’s a video link of Rubenstein performing

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Mitsuko Uchida was born in 1948 in a seaside town close to Tokyo, Japan.  She moved to Vienna, Austria, with her diplomat parents when she was 12 years old.  She enrolled in the Vienna Academy of Music to study with Richard Hauser, and later Wilhelm Kempff, Stefan Askenase, and Maria Curcio.  She and Argerich have Askenase and Curcio in common as teachers.  She remained in Vienna to study when her father was transferred back to Japan after five years.  She gave her first Viennese recital at age 14 at the Vienna Musikverein.  In 1969, Uchida won the first prize in the Beethoven Competition in Vienna and in 1970 the second prize in the International Chopin Piano Competition.  She is noted for her interpretations of Mozart, Beethoven, Chopin, Debussy, and Schoenberg, and particularly feels connected to Schubert, according to a June 14 article in the New York Times.  Uchida is also a conductor, known for conducting from the keyboard.  She performed at Carnegie Hall on May 4 and June 18, part of a two-season survey of Schubert sonatas.  I listened to her performing Schubert’s Piano Sonata No. 21 in B flat Major, D. 960.