Celebrating our colleague, Bruce Berr

We are blessed in our profession to have opportunities to interact with the best in our field—the best teachers, colleagues, friends. Such has been the case for teachers across the country with our colleague, Bruce Berr. Bruce had been an Associate Editor with Keyboard Companion and Clavier Companion since 1997. Recently, he wrote a regular column ...

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The art of practicing: I really should be practicing well


I do apologize to Gary Graffman for filching his title as blatantly as I have, but let's face it—although the quality of one's practice may be just one factor in determining how fast and far one progresses at the piano, it's a critical one. In the studio lessons and piano classes I teach, a large percentage of the time is devoted to how to practice...

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Finding the "soul" of your foot: The nuances of pedaling


When I was a young piano student, I reveled in the joy of hearing two clashing harmonies blur together under one pedal. In my teenage years, much like my peers, I loved to pedal emotionally, often liberally and with fervor as the beauty and passionate music of the great Romantic composers transported me. But, I never dared touch the pedal...

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The great compensator


A full range of expressivegestures evocative of other instruments is always at our disposal. We pianists are constantly grappling with the fact that our instrument cannot truly sustain tones. A few fractions of a second past its production—marked by a meteoric rise in loudness—every new sound plummets in volume as surely as if it were bei...

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What Aspects of Teaching Pedaling Do You Think are Most Important?

Most aspects of piano playing and teaching show characteristics of both science and art. Some appear to be more on the "method" side of that spectrum, others on the "intuition" side. Pedaling seems to be significantly more than fifty percent art, due to the enormous variety and complexity of sounds that can emanate from the instrument, and also sin...

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Extraordinary Teaching Spaces

Extraordinary Teaching Spaces

In my travels around the country as a clinician over the past decades, I have enjoyed meeting many new people—students of various ages, independent and community music school teachers, university professors, and music store owners. Occasionally, I have been fortunate enough to also see the home studios of some independent teachers. The variety...

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What are the most important rhythmic skills for the early-level student?

I remember the first time I heard Elvina Pearce talk about piano teaching. I was a doctoral candidate in piano performance and pedagogy at Northwestern University in the mid-1980s, and a special class of master's and doctoral students was assembled so that "Mrs. Pearce" could teach both at the same time. From the very start I was riveted by the pre...

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What is the "practice toolbox" you use with your students?

Helping our students learn how to achieve expression, ease, and accuracy in their playing requires that we impart effective practice procedures. Some of these involve the how of playing, what we commonly call technique: awareness of how we move and use our bodies; how to prepare, execute, and follow-through when creating gestures; when to relax, wh...

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How do you decipher rhythms when transcribing the recordings of Bill Evans?

​I have been a devotee of the music of jazz pianist Bill Evans since my early teenage years. I own many of his recordings and have listened to them numerous times over the decades, constantly hearing new things in them. I also was fortunate to hear him perform live on campus when I was a college student in St. Louis in the 1970s—a marvelous ex...

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Can young students learn rhythmic flexibility?

It has been said by many that in music, rhythm is what happens between the beats. That is true, yet those words don't sufficiently communicate what we actually experience in rhythm. Much of what we teach is from notation, an inherently artificial and scant symbolic representation of music. These two facts conspire to create a problem: you can't fai...

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Thoughts on the Tiger Mom debate

To say that Amy Chua has touched a nerve with parents is an understatement akin to saying that Franz Liszt had an influence on piano performance and teaching. Since the publication of her book Battle Hymn of the Tiger Mother in January, and the subsequent Wall Street Journal article "Why Chinese Mothers are Superior," a firestorm of discussion and ...

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Why should I consider having my piano tuned in anything but equal temperament?

Three years ago my piano technician, Robert Guenther, asked me if I wanted to try out a well-tempered tuning on my 1913 Steinway Model O. We have known each other for decades so he was aware of my interest in the science of music, including different tuning systems. He mentioned that several of his clients had been using well temperament (WT) for t...

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What aspects of teaching rhythm are the most difficult for your intern teachers?"

Yes, you may remember seeing this same topic previously in this Department—twice! When pedagogy teachers are confronted with this question (either artificially by us in this magazine, or in reality in their classrooms by the inherent complexity of helping other people learn how to teach effectively), crucial facets of teaching that are important to...

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How do you teach the rhythm challenges in Debussy's Clair de lune?

In this department over the past thirteen years, many authors and myself have alluded to two different meanings of the term "rhythm." Prosaic rhythm (also called counting rhythm) is the mere timing of events decoded from the printed page using counting or other methods. Poetic rhythm is much broader, encompassing virtually everything...

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"Is a physically gifted student likely to be rhythmically reliable and musically aware?"

Anyone who has taught piano or any other instrument for more than a short time invariably must deal with one of the major challenges facing a music teacher. That is, becoming a good player simultaneously involves diverse kinds of learning: perceptual, physical, emotional, intellectual, spiritual, etc. To make matters even more complex, each student...

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What is your plan for teaching a new piece? How does it vary for different levels of students?

Learning a new piece is like building a house. First there is a conception of the end result. The foundation is then laid - the more solid and stable, the better. Then the frame is erected and the most basic infrastructural elements are added. The skeleton then has more "flesh" progressively added until the process is nearly complete. The fini...

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How do you teach polyrhythms?

In my college years I encountered a recurring four-against-five pattern in a 20th-century piece, and my initial attempts to do it were not successful. My teacher recommended that I approximate the pattern ("fake it") while I learned the rest of the music. He also suggested that I first try tapping the polyrhythm away from the piano, which I did aft...

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When is it appropriate to leave rhythms UNperfected for a given student? Have I mis-assigned a piece in that case?

from the series: The Heart of the Matter: Rhythm Sometimes quantity is quality. As a young teenaged pianist, I had great fun learning transcriptions of Dave Brubeck improvisations. His was the first jazz piano music that I sunk my teeth into. I loved the sound of the rich complex harmonies, the counterpoint, the unique textures and voicings (I...

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How do you teach measure groupings (hypermeter) to your intermediate-level students?

from the series: ​The Heart of the Matter: Rhythm Bruce Berr, Editor I was introduced to measure groupings when I was a college junior - not by a teacher but a classmate. We were rehearsing the scherzo of the Beethoven Cello and Piano Sonata No. 3, Op. 69 (see Excerpt 1). We did our first run-through at a moderate tempo just to see h...

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What common pitfalls occur in the teaching of music reading?

from the series: Independence Day: Music Reading Craig Sale, Editor For this issue my colleague Bruce Berr and I wanted to share our thoughts on common pitfalls that occur in teaching music reading and in teaching rhythmic subdivisions. Having dealt with these issues in our own departments over the years, we decided to "switch departmental hat...

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Piano Magazine is the leading resource for pianists, piano teachers, and piano enthusiasts. We bring you informative, interesting, and inspiring ideas on all aspects of piano teaching, learning, and performing. The official name of Clavier Companion magazine was changed to Piano Magazine in 2019.

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