Music Teaching

087 - 9 Creative Lesson Activities You Can Do with a Broken Arm

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

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)

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.

084 - Recital Recap & Year-End Reflection

084 - Recital Recap & Year-End Reflection

Earlier this month, I hosted my 14th studio piano recital. There’s always so much that goes into planning and preparing for an event like this.

We spend months learning the music and practicing performing. What happens if you play a wrong note or miss a key change? What happens if you forget the repeat or play the first ending twice?

We discuss arm movement and phrase shapes, articulation, and projection, and how it feels and sounds different in the big theater vs. the classroom where we have our lessons. We listen and observe.

Today, I’m sharing my own recap and reflection on this year’s recital—how it went, what I learned, what I observed, and how it’s shaping my teaching practice for the year ahead.

083 - Bernstein & Bill Evans: Inside My Recent Intermediate Studio Class

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

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

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.

080 - 14 Ways to Practice Away From Your Instrument

080 - 14 Ways to Practice Away From Your Instrument

When you think about practicing, what do you picture?

Maybe you think about your instrument in the living room or your favorite practice room at school. Maybe you picture your studio with morning light streaking across the floor or in the evening with a few lamps casting a cozy glow.

Certainly, practicing happens in all of these spaces. But it can also happen at your desk, in the car, at the breakfast table, on a walk, in a carrel at the library, or in a classroom where no instrument is present.

How?

Because practicing is more than the mechanics of playing an instrument.

079 - From Technique to Musical Identity: Six Things I’m Focusing on in Lessons

079 - From Technique to Musical Identity: Six Things I’m Focusing on in Lessons

Happy January!

I hope you had a restful teaching break and that you’re ready to dive back in with renewed energy, creativity, and motivation.

The Spring semester can be busy. In my studio, we have informances in March (which you heard me talk about last year—see episodes 068, 069, and 071), our state Solo Festival in May, and our annual year-end recital in June, plus 2-3 studio classes for each group (which ends up being 13 or so, for me) and of course, weekly lessons.

078 - The Days of Auld Lang Syne: A Year-End Reflection for Music Teachers

078 - The Days of Auld Lang Syne: A Year-End Reflection for Music Teachers

It’s the middle of December, which means you’re probably caught up in the rush of holiday performances, concerts, and recitals, studio classes, parties, and general busyness as we wrap up the year. Your to-do list is long, but the days are short, and you’re doing your best to stay on top of it all.

But as busy as this time of year is, it can also be a time to pause and reflect. To embrace the quiet and stillness that comes with the first snowfall or sitting in the living room late at night or early in the morning by the light of the Christmas tree.

As a teacher, December is a time to acknowledge everything you’ve created and accomplished this year—everything you’ve learned and all the ways you’ve changed and grown and evolved as a musician and educator.