094 - The Curious Mind of Pianist Josef Hofmann
What does it look like to be a musician who is also an inventor—someone whose curiosity about how things work shapes the way he approaches his instrument? Pianist Josef Hofmann spent his entire career exploring that, and his story is worth knowing.
This year marks the 150th anniversary of Hofmann's birth. He was a Polish-American pianist, born in 1876, and considered by many—including Sergei Rachmaninoff—to be the greatest pianist of the 20th century. And yet, despite his many musical achievements, including a fifty-year performing career, 100 compositions, commercial recordings, a signature tone, and enviable technical precision, he doesn't have the same name recognition as his contemporaries.
093 - What We're Doing for Informances This Year
March in my studio means one thing: informance season. We spend 10 to 12 weeks getting ready—learning and analyzing music, practicing demonstrations, preparing to talk to the audience. And this year, I knew from the start that the theme was going to require a little more planning than usual.
If you’re new around here, I define a musical informance as an informal, informational performance that integrates education and experience. It’s an opportunity for students to share what and how they’re learning and invite parents and audience members into the music-making process.
089 - The Science of Practicing: What I’m Learning from Molly Gebrian's Book
One of the things I love about teaching is that we can draw on many disciplines to make our work better—art, psychology, learning theories, and even neuroscience. Recently, I’ve been reading about what brain research can tell us about practicing and how we learn, and it’s fascinating.
Welcome back to our 2-part series on practicing.
In part 1, we talked about the art of practicing. I shared what I’m learning from Madeline Bruser’s book, The Art of Practicing, and how I’m carrying these concepts and strategies into my practice sessions and studio.
088 - The Art of Practicing: What I’m Learning from Madeline Bruser’s Book
This fall, I read two books about practicing: The first is Madeline Bruser’s, The Art of Practicing: A Guide to Making Music from the Heart. The second is Molly Gebrian’s 2024 release, Learn Faster, Perform Better: A Musician's Guide to the Neuroscience of Practicing.
Art and science. Because practicing requires both.
This is part 1 of a 2-part series about practicing and what I’m learning and applying from both books.
In this episode, part 1, we’ll talk about the art of practicing. I’ll share what I’m learning from Madeline Bruser’s book and how I’m carrying these concepts and strategies into my practice sessions and studio.
087 - 9 Creative Lesson Activities You Can Do with a Broken Arm
It was about this time last year when I got a panicked email from a parent: “Jack broke his left wrist this week. What does this mean for piano? He’s in a cast.”
Has this ever happened to you? Some parents may assume that lessons need to be paused during this time. I mean, they can’t play with only one hand… or can they?
The answer is yes, and there’s more and more one-handed repertoire available. With a broken foot, we can focus on repertoire that doesn’t use the pedal, or they can learn to pedal with their left foot for a few weeks.
But more importantly, what I want to convey to parents (and students) is that playing is only one facet of musicianship. There are so many other things we do in lessons, so many other skills we’re working to develop. It reminds me of something Frances Clark once said, “Teach the student first, the music second, and the piano third.”
086 - Teaching Keyboard Skills to Students of All Ages
Learning to play the piano isn’t just about learning repertoire pieces. It’s about developing a set of keyboard skills that lets you make music anywhere, with anyone, in any style. Technique, performance, and sight-reading are part of it, but so are harmonization, transposition, chord knowledge, and voice-leading. It’s more than the ability to perform what’s on the page; it’s understanding how the music is made.
In this episode, I’ll share why keyboard skills matter for students of all ages and a few strategies I’m using in my studio to build them into lessons from the very first year of study.
085 - Everyone Can Improvise (+ 3 Examples From My Studio)
When I was in grad school, I took an elective class on Improvisation. I remember shuffling into the 3rd-floor classroom that first day, pulling a blue chair into the semicircle like everyone else, unfolding the desk and preparing to take notes.
“Improvisation is something we can all do,” our professor, Dr. Christopher Azzara began. “We’re born improvisers.” The challenge sometimes is trusting that creative process. Trusting that we have something interesting and musical to say.
Today, I’m sharing a few simple ways to build improvisation into your teaching practice in meaningful ways, even if it’s new to you. You’ll learn what improvisation is and how to get started, how to find inspiration and musical ideas, and activities to do with your students in lessons. I’ll also share a few examples and recordings from my studio recently.
083 - Bernstein & Bill Evans: Inside My Recent Intermediate Studio Class
It starts simply. Two blocked jazz chords with I-V in the bass. And then the vocalist comes in:
“Twenty-four hours can go so fast.
You look around, the day has passed…”
This is Leonard Bernstein’s song “Some Other Time” with lyrics by Betty Comden and Adolph Green, written for the 1944 musical, On the Town. It’s about three sailors on 24-hour leave in New York City who meet three women before leaving for war. Four characters perform this song (in the stage version), hoping to catch up some other time, but knowing they may never see each other again.
082 - What Art Is Teaching Me About Music
Some of you may not know this about me, but I’m a musician and an artist.
I always loved art as a kid—from finger painting in my blue smock at my Little Tikes easel to coloring and tracing to the pastel class I took one summer, culminating in our work being displayed in a local bank. For a while, my answer to the question, “What do you want to be when you grow up?” was “An artist or illustrator.”
Music was always there, too—singing and playing the piano, learning letter names as I learned the alphabet, and later, accompanying, teaching, performing, and arranging.
At some point, I set art aside to focus on music.
081 - Celebrating Women in Music Month: An Inside Look at Our Studio Informances
March is Women’s History Month and by extension, Women in Music Month—an opportunity to acknowledge and celebrate women’s contributions to our field.
When I was a grad student at Eastman, they used to have an annual Women in Music Festival in March. Students and faculty worked together to create a series of programs and lunchtime concerts featuring music (and sometimes lyrics) by women. I had the opportunity to accompany on a program one year—it was so meaningful to be part of such a special event. It’s still something that stands out in my memory from my time in grad school.
As a teacher, I love finding ways to honor and celebrate things like this with my students. This year, we’re celebrating Women in Music month with a series of musical informances.
I'm Ashley—musician, educator, writer, and entrepreneur. Here, I share creative ideas and practical resources to help you in your teaching and creative work. Learn more...
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