Four of my students from the Shepherd Music School participated in the semester-end recitals, Spring 2019 Finale. Their pictures are below. A couple of brand new students who are very young did not participate, and my two adult students also chose to sit this one out.
New Wrinkle: House Recitals!
I also tried something new this time: house recitals. Since I teach several in-home students who aren’t affiliated with Shepherd, I have to find opportunities for them to play. I often just do in-home recitals just for them, in lieu of a lesson. However, I also like for all of my students to get to know each other, regardless of where they are enrolled.
Figuring out how to do this seemed pretty obvious. Most of my students live in one of three areas. And there are about an equal number of students in each geography. I already had an invitation to check out the spinet piano one of my families had just gotten their daughter, so some of the planning already took care of itself.
At a Church
The first house recital was held not at someone’s home but at a house of God. It was at the church where Shepherd is based since none of the piano parents volunteered their home for the event. The three participants played the beautiful Baldwin grand piano in the sanctuary that is typically off-limits. My most advanced student got the chance to make a mini-recital debut playing much of the repertoire he learned over the semester. One of my adult students also participated, since she felt more comfortable in this small group setting versus the very busy Shepherd recitals.
At a Home
The second group was the one where I was invited to visit the newly-acquired spinet. There were extra adults and kids there in addition to the piano parents and student participating. I played to conclude the recital, as I did in the first event. When it was all over, the kids went into the backyard to bounce on the trampoline, and the adults enjoyed conversation in the living room. Although the goal to play was met in both cases, I much preferred the fun atmosphere of the second recital. This type of recital really benefits from being held in a home environment.
At the Emergency Room
The third group was for a single family with three students that lives a distance from the other two groups. Unfortunately, it was canceled due to a medical emergency that occurred just before I arrived. One learns to roll with the punches!
Listening to music in the online era seems a bit more like just another computer task, whether it be shopping online or even writing an email. The only difference is that it’s served via a music platform, like YouTube or Facebook Live, instead of some other computer, tablet, or cell phone app. So why not Schumann and Beethoven To Go, since that is how it is likely to be consumed?!
As I just hinted above, my virtual audience is much larger than my physical one. I’m not going to rehash my thoughts of my last blog post, but instead, continue to focus more on my online audience. The move to thinking about an online audience has been quite a challenge. I allow extra time to get my live stream ready before each performance. I post to both Facebook and Instagram both before and after events, in order to entice and provide listening links, respectively. After each Facebook Live event, I edit the recording to eliminate dead space, give program information, plus provide launch points for each piece and movement.
So what inspired me to put together works by Schumann and Beethoven? Before I explore that, here is a link to the concert program itself. I first heard Schumann’s Papillons in a recital given by Vladimir Ashkenazy. I remember sitting on stage in Symphony Hall in Boston as he thundered those octaves at the beginning of the second episode. That immediately dismissed any notion that this was a lesser work. It may not be as virtuosic as some of Schumann’s later and longer works, but it provides many challenges – including those very octaves!
Beethoven’s Second Piano Sonata, Op. 2, No. 2, is brand new to me. I selected it since I already played the first sonata in college, as well as several others sprinkled through the entire catalog. I don’t have a goal to learn all 32 sonatas, but I figured that with the first two sonatas learned, I might want to learn a few more eventually. It’s humbling to realize that a lifetime of piano playing hasn’t made learning anything by Beethoven any easier!
Now that I’ve offered Schumann and Beethoven To Go, I’m wondering whether I should have offered any food or beverage pairings. Okay, I’ll leave it right there, because I really now have to go practice!
Great success and utter disappointment might be a slight exaggeration. However, it shows the range of emotions I felt after giving what I consider to be my best organ recital on Sunday, April 28th at First Methodist in Bella Vista. My playing was really pretty decent, even good at times, and was about the best I could have expected. The Widor Toccata was the only piece that I had learned before this year. Anyone listening to me now versus several years ago would notice significant improvement. I am well on my way to playing the organ in mid-life as I did the piano when I graduated from music school.
I didn’t have a large network through which to market the recital, but I got the word out early, and even let the program sit for long enough to make a change from a shaky to a solid final selection. In the last year or so that I have been giving piano and organ recitals at the church, I have been getting audiences between 12 and 35 people, so I reasonably expected that I’d at least hit the low number, despite it being the Sunday after Easter and there being a couple of competing activities at the church.
Oh boy, was I wrong about that: Only five people showed up. That included my page turner, Music Director Larry Zehring. He reluctantly pitched in when I couldn’t find a single volunteer from the choir.
Strangely, I wasn’t as bothered by this as I might have been in the past. After all, I do broadcast and archive my recitals via Facebook Live, so they do have an online afterlife. The primary motivation for giving the recital was to prove to myself that I could do it. Having an audience of any size to hold me accountable was really the main criterion. This counted! Playing to an empty house, even in the best circumstances, is still just practice!
As I go forward, I need to be clear about my motivation, and what is and isn’t important. I have to focus more on the great success and less on the utter disappointment. I have to realize that most people are more concerned about their brunch plans than noontime recitals. Plus, there are only so many fans of the organ. Whenever I hear a national recitalist in Tulsa, there are barely 50 to 100 attendees for recitals that are free of charge. Maybe this was a reminder from God to keep looking inward, instead of outward, as performers want to do. I did well and should let Him take care of the rest.
I participated in the Arkansas State Music Teachers Association (ASMTA) regional festival again this spring. I had four students enrolled, the same as last year. Two of those were continuing students; two were new students. This event was held on Saturday, April 6th, in the music building at the University of Arkansas in Fayetteville. I didn’t sleep well and woke up before 6 a.m. since I was petrified by the possibility that I could oversleep. I was scheduled to do musicianship testing, which took the entire morning after my 8 a.m. arrival.
I was able to get pictures of 3 out of my 4 students. That’s because I insisted they stop by my testing room before they left. All of them received a Superior rating of 1, but one did better than that by securing a 1+ as the first alternate to the winner for her level. My studio did a lot better this year in supplemental testing as well, with several certificates awarded for scores of 90 or better in musicianship and written theory.
It is always interesting to compare notes with teachers in the break room during lunch. We discussed the surprises and disappointments of the day, and traded stories about what else is going on in our lives, musical or otherwise. As you can imagine, this event only happens due to the hard work of several volunteers over weeks and months before the event; my helping out on the day of the event doesn’t compare to that! My thanks to them!
I wasn’t looking to buy a piano. Really! But I bought a piano anyway. The interest was sparked by a piano parent who was searching for an acoustic piano. But I was surprised when she emailed me an advertisement for a 48-inch Yamaha U1 upright, built in 1977. This is a top-of-the-line upright, which Yamaha continues to make in Japan, along with their tallest model, the 52-inch U3. They offshored production of all of their shorter uprights decades ago.
When it was clear that my piano parent was pursuing pianos in a much lower price range, I made the call. It’s tough to fairly evaluate resale prices for used instruments, but I knew that the asking price was correct if the instrument was in excellent condition. However, even well-loved instruments can develop issues requiring significant rework, so I didn’t want to take any chances.
I hired my preferred tuner to do an analysis of the instrument, since a $60 fee was well worth saving hundreds or even more if I chose poorly. I have to be realistic that this might be the last instrument that I purchase. Yes, I’d still love to have a Steinway B or Mason & Hamlin BB, but this is a practical decision for now.
Everything worked out, and I was able to find a new owner for my Knabe spinet that is old enough to have ivory key covers. It was a gift to me, so it is now a gift to a new piano parent. I never loved this piano, but that’s more a reflection on me than it; I have better instruments available to practice where I work. It still has more to give, and I hope it will be appreciated for years to come.
Adopt a new-to-you upright of your choice. You won’t be disappointed!
I received very different kind of feedback after performing a new piece in my repertoire, the Chopin Scherzo No. 2: “I am glad that you learned that for yourself and that you shaered it with us!” It’s not the typical response following a performance. I knew that the comment was well intended, coming from one of my favorite people at First Methodist of Bella Vista. Still, it took a while to sink in what that actually meant.
While my reasons for wanting to learn new repertoire on the piano and organ are multi-faceted, it’s clear that they are all related to my goal to become better at both. I encourage my students to set and achieve goals, in a way that’s appropriate for their age. If I find a child is shirking responsibility, I try to address his responsibility in the process. One of the many benefits of piano lessons is becoming responsible for one’s work. The piano is just the tool that allows that to happen.
Performance is the natural culmination of music study. If you’ve taken the time to learn a piece, you should share it with others. Recitals and music festivals are the formal way to do this, but there should be other ways too. Performing for family, church, school, or a retirement community are equally valid. Live performance gives you feedback that you can’t get in any other way. Plus, it helps focus and refine your work, since there is a fixed date on the calendar that will make you accountable!
Learning and performing go hand in hand for me. I couldn’t imagine learning and then not performing. I have had some students, particularly adults, who have no interest whatsoever in public performance. That’s okay too. What doesn’t work well is performing without learning. Yes, I have performed more times than I’d like to admit without being sufficiently prepared. Building an audience is difficult, and it’s important to do your best. I’m grateful to have the chance to learn new pieces, polish old ones, and share them with my audiences and inspire a new generation of musicians.
I was practicing after teaching this week, something I do whenever I have the chance. When learning new pieces, I sometimes find it difficult to get started. Once I get started, it’s sometimes difficult to keep making progress. Such was the case in trying to get through the entire Chopin Scherzo No. 2. It’s a new piece for me, with 780 measures over 23 pages that I’ll perform as a church postlude on February 10th.
It was really tempting to just practice the portions that I already knew, versus getting further into the piece as I must. One of the techniques I use is to mark the date at the furthest point that I have practiced. Then, I use that endpoint as a starting point for the next practice session. What was frustrating this particular evening was that I really needed to move forward quite a bit to stay on my timeline. And I was having a hard time doing it.
That’s when it dawned on me…was this fear or laziness? Or a combination of both? My particular challenge is one that I set for myself. I decided a while ago to commit to learning lots of difficult new music on both the piano and organ. Even if I’m the only one who knows I didn’t do my best, it bothers me.
I’m in good shape right now on that piece, and on the other pieces that are upcoming. But that will only remain true if I keep remembering to battle these two foes, fear and laziness, by continuing to push forward each time I practice!
I got the chance to do quite a bit of reading during time off from work, especially following Christmas Eve, which included two services and a very difficult organ recital in between those broadcast via Facebook Live. Without looking for it, I stumbled upon an opinion piece in the New York Times titled I’ll Never Be Rachmaninoff. It was written by an adult piano student who returned to the piano following a long absence. Her goal was clear; but what is your goal?
It’s not the first time I’ve written a post based on the recreational benefits of piano study, but I think it always comes across better in the first person. Jennifer Weiner tells the story of finding teachers, and how study positively affected her life and daughter as well. Ms. Weiner was a very competitive person in youth and in life, so the last thing she needed was to resume piano study with the hopes of becoming great. Her goal was to be good, not great, and she describes her journey towards just that. Thus, the title of her article is particularly compelling.
I try to remember to ask my students about their goals and to regularly check in with them that lessons are meeting them. Often, especially with younger students, the goal is pretty general, just to play better, and the means to get there isn’t specific. For other students, particularly teens and adults, there are more specific goals in mind. It might be to reach higher levels in classical study, to play pop songs, or to play Christmas carols for their family.
One of my adult students had that last goal. She just reported back that it went well. For this particular student, the focus was short-term, to play a series of Christmas carols well enough for a sing-along. She enjoyed it enough and received enough positive feedback that she’s considering more study, though not right away. That’s great!
Whatever your goal is in piano study, I hope to help guide you there. Whether your goal is to be good or great, I think Sergei would approve!
I’m often asked by piano parents for recommendations on buying a piano. It’s a loaded question. I often have to ask several follow-up questions before giving an answer that will satisfy what they are really asking. In ideal terms, I’m thinking about the instrument that would best serve the student now and several years into the future. In practical terms, the parent is often looking for a bargain and something that will work now. It’s sometimes even difficult to get a parent to consider an acoustic instrument, even when money isn’t the primary constraint. How can I possibly make more of a dent, to get someone to try to think differently? Listen to the piano.
Since I perform quite a bit, I play a variety of instruments. Most of them are acoustic instruments, but there are occasions when they are electronic. There are those grin and bear moments, like when I played for a birthday party earlier this year with a borrowed 61-key electronic keyboard, damper pedal not included. Not all electronic experiences are like that. I often get to play some really good keyboards, such as a Yamaha Clavinova. Although there are other companies that make legitimate keyboards, I really like this model just because I’m most familiar with it.
However, I can’t say that I’ve ever played a keyboard without feeling compromised. I’m not talking from a purist or snobbish viewpoint. Listen to the piano. How does it sound? To me, there’s only way to produce the sound that a piano should have, and that’s with a hammer hitting a string. Sound sampling has greatly improved during my lifetime to where electronic instruments merit their place. They just aren’t real!
I was scrolling through Instagram posts one morning, and came across a pianist whom I know only through social media. She often posts students playing her old American-made grand piano that has a sound that could only come from that instrument. Between the moving parts of hammers and strings and the fixed ones like the iron and wood, each piano has a story to tell. Listen to the piano. I’m still amazed that my tiny Knabe spinet, so old that it has ivory key covers, speaks so beautifully. All spinets have the compromise of a drop action, but they can still sing and inspire.
Listen to the piano. That’s how I’m going to start when next asked this question. Perhaps my advice will go unheeded. But maybe that will cause some piano parents to pause to listen. And who knows? That might make all the difference!
Update: My former Knabe spinet is now in the home of a new piano student, as a result of the purchase of a Yamaha U1 48-inch upright.
Four of my students from the Shepherd Music School participated in the year-end recitals. Two made their recital debut; the other two are becoming old pros performing in public.
Since all of the parents have given me consent to post their children’s photos, I have included them in the photo carousel below. I’m really proud of them all, and am excited to hear how they grow over the coming semester.
All of my students have plenty of chances to perform publicly. In this past semester, we had a Halloween performance party and played for the residents at a local retirement community. For those participating in the Sonatina Festival, there was a warm-up recital in Springdale prior to the event itself.
My private students do miss out on the school recitals, but we often have in-home recitals instead. It’s a more intimate chance to perform for their family and friends.
Here’s to continued success in 2019!
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