Blog
By John Hart
Last December, I wrote a blog entitled “The Well-Balanced Musician” where I outlined 7 different skills that a musician should develop over time: sight-reading, chart-reading, transposition, embellishment, free improvisation, song-writing, and composition. Today, let’s discuss “transposition” on the keyboard.
By Justin Hansen
During an introductory piano lesson, aside from getting a glimpse of the student’s personality, the primary goal for the teacher is to assess the skill level of the prospective student. If this student is new to piano, there are some fun rudimentary lessons we can give to ignite interest and provide a snapshot of any learning styles that become apparent. Some instructors may focus on teaching this student a simple song on the black keys using finger numbers. Others may focus on note heads and their values. One thing most of us choose not to start out with is teaching the keys of the piano; that perhaps the student will gradually learn these later with the help of method books, and it may just be too much information out of the gate.
That's why our teachers have taken a moment to answer some questions in between their busy teaching schedules. Read on to learn more about our amazing piano teacher Justin Hansen!
By John Hart
This skill is essential for music students who want to learn to play music genres such as blues, country, folk, hip, jazz, pop, soul, and gospel music. Instruments such as piano and guitar are commonly used as the musical backbone of these styles because they can sound more than one note at a time. Though sight-reading written notation is an important skill to acquire for any instrument, it is not required for reading chord charts. This skill doesn’t usually take long to learn and gives the budding musician the satisfaction of producing music that is pleasing to the ear within weeks versus the years that it takes to learn to sight-read proficiently.
By Esther Joh
While in modern times standardization has affected the craft of piano building, in the 18th century instruments were still personal works of art. Therefore, pianos differed from town to town and from builder to builder. Although within geographical area craftsmen did influence one another, the distance between two cities as far apart as London and Vienna resulted in the establishing of two distinct schools of piano building: the Viennese and the English. Viennese made by Stein from the early 1770, developed by Anton Walter, who built Mozart's own piano in the early 1780s. English were developed through Backers, a Dutch-born harpsichord maker resident in London, and John Broadwood.
y Alexis Rastovich
Since the day they start walking, it is always a struggle to keep children away from out-in-the-open pianos or making unnecessary noises from their little voice boxes. My question is, why do we restrain them from these instruments? In fact, why do we keep ourselves away from unknown instruments? Yes, it sometimes is inconvenient to listen to the sounds of imperfect harmony, but the active learning that occurs when exploring is vital to our ability to grow as a musician, and perhaps more importantly, to grow as a person.
By Kate MacKenzie
One of my youngest piano students inspired the topic of this month’s blog post about a very important musician and composer named Clara Schumann (1819-1896). Her husband, Robert Schumann, was a very prominent composer of the time. However, Clara’s work and talent went largely unnoticed because it was believed that women should not compose music, nor should they perform publicly. Though she was heavily supported in her musical education on the piano (she was considered a child prodigy), she was expected to focus on her homelife once she was married.
