What are the most important skills you seek to develop in a piano student?

My goal is to teach and equip piano students to reach a level of proficiency to play the pieces they love. I aim to give them the ultimate independence to study music on their own. To reach these objectives I focus on building and reinforcing these important skills:

• Development of a strong technique with relaxed arms and wrists
• Fluency of note reading
• Recognition of patterns in the music
• Solid understanding of rhythmic notation and strong sense of pulse.

Listening skills also are of the utmost importance. A developed, keen ear guides the use of body movement to produce a healthy sound and a wide range of dynamics.

What do you do to create a comfortable learning environment in your studio?

The outline for study is tailored to the individual capability of the student. I have learned the importance of pacing the learning process so it is enjoyable and not overwhelming.

How is the piano lesson structured?

My goal is for the student to walk out of their lesson with a clear idea of how to practice at home to get the best results out of their practicing. I feel consistency in practicing is important for progress. The student and I explore the music thoroughly, identifying melodic and chordal patterns, and form. I write fingering and articulation into the music. During the lesson I demonstrate specific ways of practicing repertoire and technique at the piano with spelled-out instructions.

We also study the music away from the piano, exploring interpretive detail, phrasing and articulation. We discuss interpretation based on the style and form of the piece. I also employ the unique TaKeTiNa method to build and reinforce rhythm skills. This method solidifies poly-rhythms, simultaneously using voice, patterned foot stepping, and small percussion instruments.

How do you teach piano technique?

Piano technique can be enjoyable if it is relaxing, varied, and creative. Students are motivated to play with ease and control. At every lesson, I observe and teach the student to watch for any accumulated tension in the wrists and forearms. They learn to associate full range of motion from the upper arm to produce a beautiful sound.

I tell my student that “slower makes faster” and assign scales and arpeggios at slow and gradually increasing tempos. Slow practice enables a piano student to relax their muscles and pay attention to their hand and arm motions. They learn the importance of flexibility to play with ease.

I select passages from the piano literature to develop hand and finger independence. I also include variants of Hanon exercises, including transposition, traveling up and down the keyboard with octave leaps and rhythmic variants. The students enjoy using the full range of the keyboard.

My child has been studying with another teacher for a number of years. What techniques do you employ for the transfer student who is at an advanced level?

It is important to ensure that the transfer student has acquired a firm foundation and identify any areas that need reinforcement, clearing the way for more advanced work. I may:

• help the student find melodic and chordal patterns in the music so they are easily recognizable
• mark fingering in the music to insure consistency in practicing
• explain the form of the repertoire
• demonstrate specific ways of practicing repertoire and technique
• focus on technically challenging sections of the piece with detailed instructions
• explore different articulation in the hands to delineate simultaneous, independent melodic lines
• offer rhythm exercises away from the piano using movement and, small percussion instruments
• propose exercises for playing short sections by feel with the eyes closed
• have the student study the score away from the piano, with attention to interpretive details
• give memorization exercises including silent practice. For example, the student plays odd numbered measures on the piano, alternating with silent practice on even numbered measures, and vice versa.
• focus on interpretive detail, phrasing and articulation
• have the student practice designated sections with the eyes closed to develop tactile memory, bringing out voicing and melodic shape
• work on creating a beautiful tone with pedal and relaxed gestures
• keep the practicing interesting for performance preparation exploring different ways of review so it doesn’t become boring or rote over time

How do you motivate your students to practice?

The student must be in love with the pieces they study. Students are willing to put the extra effort into practicing if they have chosen the repertoire. During the lesson I play through a variety of pieces until we find the ones they are excited to study.

I establish short-term goals such as dividing the piece into smaller sections to make the piece accessible. Short-term goals are best met when the student keeps written records, as simple as a post-it note tacked onto the music. Students are eager to fill out weekly charts that graph their progress. Every time a section is practiced, the student records a check mark. Written records kept by the student have proven invaluable in motivating the student to set aside ample time for repetition.

What piano methods and books do you use?

I use the Piano Adventures series by Faber including:

• Technique and Artistry
• The Lesson Book
• Performance
• Developing Artist Piano Sonatinas
• Developing Artist Piano Literature

My students also enjoy:

• The collected piano works by Paul Sheftel including “Preludes, Interludes, and a Postlude”
• Ingrid Clarfield and Dennis Alexander’s Piano method books including: “Keys to Stylistic Mastery”
• Helen Marlais Piano books including: “The Baroque Era,” The Classical Era” and “The Romantic Era.”

What is the OMTA syllabus program?

The Oregon Music Teachers Association provides a semi-annual opportunity for students to participate in an audition-exam experience called Syllabus. All exams are held at private piano studios. There are 10 levels of piano skills evaluations in the Syllabus system. The assignments of the Syllabus include playing major/ minor scales, arpeggios, chords, sight-reading and rhythm-reading examples, ear-training test. At the end of the exam, students perform, depending on their level, three or four memorized pieces written in the different historical periods such as Baroque, Classical, Romantic, and Contemporary. All students receive a level completion certificate.

What is the value of the syllabus program in your teaching?

While living in Salt Lake City, I taught the required four semesters of music theory classes at the University of Utah. Based on my experience with that curriculum, I find great value in the OMTA’s Piano Syllabus program. I feel it is important for my piano students to be well-rounded musicians. The OMTA syllabus is designed to provide students with a thorough and comprehensive background in keyboard skills, musical understanding, and performance preparation. My experience with the syllabus program has been very positive as it provides great motivation for my students.

How much lesson time is spent on syllabus?

I allow 10 minutes for syllabus review during the lessons. I divide the syllabus levels into small assignments that add up during the year, allowing plenty of time to review prior to the exam. In preparation of a new piece of music, students review the syllabus skills in the key of that piece. This provides an excellent opportunity for review.

What is expected from me as a parent to further my child’s study?

As a parent of three stringed musicians, I learned how important is was to be involved in my children’s progress. I would sit in on their lessons, taking notes on their teacher’s instructions and assignments. By making sure they followed the teacher’s instructions I helped provide a consistent, and focused, practice. That is necessary for the child to progress quickly and remain interested. My children were motivated to reach an advanced level and perform often. In retrospect, I feel my role as a participating parent was a commitment well worth it.

My approach to involving parents of my piano students is similar to my own experience. Parents attend the student’s lessons and take notes. In addition, students need their parents guidance in managing their busy schedules, and designating piano practice sessions at optimal times during the week. Use of a audio or video recording device is encouraged during the lesson. As students become advance in age and maturity, the parent is encouraged to listen to the lesson in a waiting room area, adjacent to the piano studio.

Beyond this hands-on assistance, praise and encouragement are vital to helping your child progress. Your involvement and encouragement will assure your child how much you value music and their growth as a pianist.

How much practice time?

Practice requirements will vary depending on the level, age and maturity of the student. Some beginners can focus for an hour. What is important is the amount of focus during practice time, not quantity. If possible, I would like a student to practice for an hour, six times per week.

My child has a busy schedule and doesn’t know how to manage practice time. What suggestions do you have?

When possible, I recommend piano practice time be divided into two shorter sessions, rather than one longer session. This works very well for students at all levels. Dividing up practicing into two sessions maximizes the students focus. Practicing is more efficient and result oriented when the student is concentrating. Students will be motivated if they feel they are making progress throughout the week. Parents can help designate optimal piano practice times for the student.

Some weeks we have a lot of activities and I’m worried that my child may not have enough time to practice.

Students and parents have input as to the amount of assignments they think are realistic during busy weeks. If the assignment is incomplete, the focus of the lesson is on sight reading, rhythm, and duet playing.

How often do you hold recitals?

We have three recitals a year during the fall, winter, and spring.

What is the venue for the recitals?

Recitals are held at the Robison home for the elderly during the fall, and at my home during the winter and spring recitals.

Do your students participate in any of the OMTA festivals?

Yes. They participate in the Baroque, Classical, and Romantic festivals.

My child is shy about performing. How will we know when she/he will be ready to participate in recitals?

Students participate when they feel ready. I do ask the student and family to attend the recitals. That way the student is part of the experience. My students and their parents are supportive and the environment is noncompetitive. Parents and students have opportunities to get to know each other. Sit-down dinners at my home for families after the recitals are joyful celebrations with plenty of time to visit and get to know each other.

Do you give trial lessons?

I meet propective students in a 15-20 minute conference at no charge. In the conference I explore your child’s needs and answer any questions or concerns you may have. If you wish to go forward for a full lesson at that time, there is a charge for the lesson.

Do you offer lessons year-round? We take vacations in the summer and winter. Is that a concern?

I offer lessons year-round. During the summer and winter, the lesson scheduling is flexible.