I’m thrilled to have a new recording of “Snap, Rattle and Plunk: Embracing Cereality,” with Steve Blum on piano and Tim DeCillis on marimba plus percussion. This work for piano, marimba, claves, tambourine, wood blocks and maracas, is based on several forms of a twelve-tone row, hence the reference to “cereality” (seriality.) The “tone row” extends to a rhythmic component as well. This is played in the middle section by the non-pitched percussion instruments. The title is clearly tongue-in-cheek but pertains to the snapping and crackling sound of the various percussion instruments.

The Kodály approach to music education is a proven path to musical literacy. In Kodály, the voice is the primary instrument and concepts are taught sequentially. Many principles of Kodály can be easily applied to the teaching of piano and other instruments.

It is August and we piano teachers are planning the upcoming academic year.  We may have new students in addition to the ones who are continuing.  Here is a good checklist I use in the months leading up to September and for the initial lessons.

The joys and benefits of playing ensemble piano are numerous.  Beyond the great sound textures that two pianists can achieve and the sheer fun of playing together, many levels of learning are also addressed.

Improvising, Composing and Experimenting at the piano can be valuable tools in developing musicianship, exploring creativity and reinforcing conceptual understanding. It is also fun for both student and teacher.

Summer piano lessons are valuable in the overall musical growth of the student. Because summer has a different dynamic, centered around camps and various activities, it is important to keep those lessons fun and creative.

“ORIGINS” from “CALIFORNIA COLLAGE”

When I began the long process of composing “California Collage,” I started with “Origins,” which musically describes the conflict between the Native Americans and the Spanish missionaries when they arrived in California. The horrendous treatment of the Indians by the Spanish and the attempt to eradicate their culture, is a shameful chapter in the history of California.

Madeline Bruser, a brilliant and compassionate teacher, was one of my mentors.  She influenced the way I teach piano and she truly practices what she preaches. This is the reason I invited her to contribute a guest post for my blog.

As we embark on a new year, one resolution could involve better piano practice habits. Have taught for many years, I can say confidently that the key to progress is regular, diligent practice.  Here are a few ideas and techniques that have worked for my students.

The last phase of learning a piano piece is focusing on phrasing, interpretation and memorization. This stage is crucial to insure a polished performance of the composition. 

In learning a piano piece, after the pianist masters the notes and rhythms accurately, the next phase is to address tempo, dynamics, articulation and pedaling. 

The second stage of learning a piano piece involves actually reading the notes, observing fingering and counting out loud to insure a solid grasp of the rhythm.

Starting to learn a new piece on the piano can seem overwhelming.  However,  following the stages of mastery can lead to success. This is the first post of four.  It addresses examining the piece carefully, determining the form, key signature, key changes, clef changes and other general considerations.   

In 2014, I was fortunate to spend several weeks in Turkey.  When I returned home from Turkey, all the musical memories coalesced as I embarked on writing “Turkish Impressions.”  I selected this title because it is exactly that: impressions of Turkey and Turkish music from my vantage point.