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—
A teacher’s role in inspiring their students.
Attention to detail and musicality—this has been an inspiritation to me that has spilled over into my piano teaching.
Reinforced lessons on the value of diligent, regular practicing.
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!
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.
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.
I have learned hymns from other churches and gained an appreciation for the faith of others.
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
Albert Rozin--Rediscovered
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:
Plan to practice the piece EVERY DAY!
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.
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)
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.
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!
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
Clap and count the rhythm
Tap correct fingers on the piano
Name the note letters while you play
Count aloud while you play
Sing while you play
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 Performances, June 2020
Due to Covid-19 and online lessons and it not being possible to have a regular end of the year recital, my students recorded music they have been working on and it was presented on zoom for our recital this year. I am so proud of their accomplishments and dedication. I’m happy to share these links (with their permission). Here are some samples from my studio:
Student Accomplishments 2019-20
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.
Music During Covid-19
From Clavier Companion:
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
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
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
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
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:
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.
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.
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.
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.
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.
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.
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
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.
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.
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
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.
The Piano in the White House
I recently read an article about the White House piano which brought back some memories of mine. Here is a photo of the article from the Clavier Companion (Jan/Feb 2017). Since we live so close to the capital, it’s kind of fun to learn about Presidents (and members of their families) who played the piano.
In 2003, I had the opportunity to play that same piano when our church choir performed there at Christmastime. I thought it was a very special experience.
Harry S. Truman
One youngster who never needed to be forced to practice his piano lessons was Harry Truman. He used to get up at 5 o'clock in the morning to practice for two hours.
When he became a man, music remained his first passion after politics, and he often said that if he had been a good pianist he never would have become President. "I missed being a musician," he said, "and the real and only reason I missed being one is because I wasn't good enough." (from https://www.trumanlibrary.org/kids/piano.htm)
Nixon could play five musical instruments.
Nixon’s mother insisted he practice on the family’s upright piano every afternoon, and in the seventh grade he was sent 200 miles away to take lessons with his aunt, who had studied at the Indianapolis Conservatory of Music. Although he never learned to read music, Nixon could also play the saxophone, clarinet, accordion and violin. His musical talents turned out to be political assets: Nixon’s 1963 appearance on “The Jack Paar Program,” during which he played a tune he wrote, helped rehabilitate his image after losing the California gubernatorial election the prior year. As president, he occasionally tickled the ivories, playing “Happy Birthday” for Duke Ellington at the White House and “My Wild Irish Rose” in honor of his wife at the Grand Ole Opry. (from https://www.history.com/news/10-things-you-may-not-know-about-richard-nixon)
Malia and Sasha Obama
Sasha — called "Sassy" by her mom — is the family's cutup. She takes piano lessons and plays basketball (her dad is one of the coaches). In the past four years, she's gone from being a bubbly 7-year-old at her mother's side to a preteen who can wear her older sister's elegant hand-me-downs.
Malia, at 14, is already nearly as tall as her 5-foot-11 mother. An avid reader, she plays piano and the flute, studies ballet and favors soccer. She is fast becoming an elegant, model-like young woman whose taste in clothes now sparks commentary from fashionistas. (from https://www.nydailynews.com/news/politics/obama-readies-family-years-article-1.1243718)
Rene Johnson, Marsali Hancock, Joyce Bennett, Kristen Evans
2003 Arlington Ward Choir, Church of Jesus Christ of Latter-Day Saints at the White House
Student Accomplishments 2018-2019
2018-2019
Fall Festival
Event sponsored by NVMTA. The requirements include two memorized pieces one of which must demonstrate contemporary compositional techniques.
Underlined and bold means superior from both judges.
Adam Baker, Zaria Bartel, Ellie Cox, Sloane Dorotheo, Qing Shuang Downing, Quinn Downing, Peter Hinckley, Lawrence Madi, Bradley McMullin, Henry McMullin, Jack McNair, Myla McNair, Walker Schmidt, Sam Youkeles
PTA Reflections Composition Contest
Annual event sponsored by the Parent Teacher Association and run through the local schools.
Peter Hinckley-1st place in Middle School, 1st place in District, 1st place in VA State and competed at the National Level with “SuperHero”
Alma Grayce Miller Composition Contest and Honor’s Recital
An NVMTA event. Students enter their original compositions. Prizes include cash, and an opportunity to have their piece performed by the McLean Symphony if chosen.
Peter Hinckley earned Special Recognition for his piece “SuperHero”
Quinn Downing earned Honorable Mention for his piece, “Altered Reflection”.
Theory Mastery Day
Virginia Music Teachers Association event with 16 levels of graded, written tests include aural exams.
Students who achieved over 90% in bold, top three scores **
Ellie Cox (1A), Myla McNair (2A)**, Lawrence Madi (2B), Zaria Bartell (3A),Sloane Dorotheo (3B), Quinn Downing (3B), Qing Shuang Downing (3B), Henry McMullin (3B), Katie Dinkelman (4), Jack McNair (4), Peter Hinckley (5)**, Walker Schmidt (5), Sam Youkeles (6)**, Adam Baker (6), Bradley McMullin (7)
Bach/Baroque
NVMTA event where students perform one piece by J.S. Bach and another by him or a different Baroque Composer. Students can play their pieces on a harpsichord. There are honor’s recitals for this event if chosen.
Student who achieved superior in bold. Called for 2nd Round*
Bradley McMullin*, Adam Baker, Sam Youkeles, Peter Hinckley*, Lawrence Madi,, Henry McMullin, Quinn Downing, Qing Shuang Downing
Piano Concerto Festival
NVMTA event, Very competitive event with 1st, 2nd, 3rd awards.
Henry McMullin, Bradley McMullin
Others who learned concertos this year: Qing Shuang Downing, Sam Youkeles, Terry Burridge
Piano Ensemble Festival
NVMTA event where students prepare duets or duos (2 pianos) and perform for judges either in festival (comments only, requires one piece) or competition (requires two pieces).
Bradley McMullin and Adam Baker
40 Challenge
Studio event. We document all pieces passed off during the year. In 2018-2019, I noticed a trend: a group of students who passed off 20-25 pieces in a year and a group that passed off over 40.
Recommended practice time to meet this goal is 5 days of practice for at least the length of your lesson.
Ellie Cox (81), Henry McMullin (70), Adam Baker (54), Lawrence Madi (48), Terry Burridge (45), Bradley McMullin (41), Peter Hinckley (40)
First Recital
Congratulations!
Elizabeth Zuckerman and Kyla Dorotheo
40 Challenge 2019
I hope you’ve heard about the 40 challenge. I’ve challenged each of my students to learn at least 40 pieces this year. I have a card for each student on which I record the name of the pieces they pass off. I also have a sticker board where they get a sticker for each set of ten pieces they master.
What does it mean to “learn a piece”?
I’m not expecting memory or having a piece fully ready for a performance. However, the piece needs to be played fluidly (without unnecessary pauses), with correct notes, rhythm and tempo, and attention to dynamics so that it sounds beautiful.
How to prepare a piece? (This could be a separate blogpost. Here it is in a nutshell)
Day 1: Spend a few minutes looking over the piece for details that you will be incorporating. This should include time signature, key signature, dynamics, tricky spots (to focus on especially), flow of the piece (repeats, d.c. al coda etc.), articulation (staccatos, slurs, accents).
Day 1: Practice one hand at a time with great attention to details.
Day 2: Put hands together slowly and evenly with correct rhythm—-it doesn’t matter how slowly at this point.
Day 3: Use the metronome to maintain evenness
Day 4-7: Determine a final tempo and work methodically toward it, practicing difficult spots more (don’t just always start at the beginning and play to the end!). To work methodically, find a slow tempo where you can play all of the notes with the correct rhythm without mistakes. Then, gradually, increase the setting on the metronome until you reach the final tempo with ease. (This will take more than one day! Be patient. Doing it little by little ensures accuracy)
Days 4-7: Make sure you have added all the dynamics
Days 4-7: If you know you are consistently missing details such as a sharp or a flat or having difficulty with fingering, take a minute to pencil in the correction or the correct fingering. This would delight me!
Second week (if needed): Continue working toward final tempo if needed and details from lesson.
Repertoire choices—Flexibility
I have tried to provide each student with some options that are achievable in a week or two if they are practicing regularly and purposefully (Remember that I recommend at least 5 practice sessions a week that are the length of their lesson).
I have also adapted the count for some pieces. For example, five students in my studio learned concertos this year. These pieces are usually about 20 pages long—-a large, impressive accomplishment. They received credit for 5 pieces in the 40 challenge for learning their concertos. For some students, hymns are very easy and I have counted either 2 or 5 hymns for 1 piece in the 40 challenge. Other students get 1 for 1 on the hymns if they find them more challenging. Another example of adaptation is one student who wanted to review some old pieces. She reviewed 2 pieces to equal 1 piece on the 40 challenge. I record recital or festival pieces the week of the event.
What does it accomplish?
Hopefully it inspires students to focus on details in their pieces, motivates them to expand their repertoire and to have pieces “ready” at their lessons. I love seeing the excitement when I ask if they have something ready for the 40 challenge and they readily turn to a piece that they want to share with me.
The reward?
There might be some ice cream in the future. This group seems to enjoy ice cream and the social aspect of the accomplishment is a motivator!
Deadline?
June 1 (in preparation for June 5/6 recitals).