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July/August 2018: Editor's Column

Claude_Debussy_1900
The Debussy Debate With this issue, we celebrate the centennial of Claude Debussy (1862-1918). Pianists and piano teachers hold him in high esteem as one of the great composers, and, as proof, we still teach and perform his works (and dedicate magazine issues to him). His bold experimentation with harmony, breaks from traditional rules, and colorfu...
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May/June 2018: Editor's Column

balance
The balance of things Our topic this month, "Consider this: Inclusion, Ideas, and Innovations," invites you to explore this expanding universe of piano pedagogy. For some Clavier Companion readers, you will find yourself admiring those who work with disadvantaged populations. For others, you may find yourself wanting to learn more so that you can i...
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March/April 2018: Editor's Column

forScore
I admit it: technology has won a  firm, long-lasting place in my heart.  At present, I own two iPads, an iMac, an  iPhone, a laptop, a music video camera,  and a number of digital pianos. Other  odds and ends of plug-in equipment and  Bluetooth gadgets litter my home and  studio. These are all completely necessary...
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DIGITAL ONLY CONTENT: We are related: a few extra stories from China

Temple of Heaven
Rambo meets Rocky "We are related!" said the young communist translator assigned to us in Guangzhou. We had been warned that the official translators were there to watch us closely, so I was caught off guard. "How is that?" I asked. "Because you are Rambo, and my American name is Rocky." As unexpected as it was to find Sylvester Stal...
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Editorial changes at Clavier Companion

Pete-sq
The Frances Clark Center is pleased to recognize the outstanding contributions of Dr. Pete Jutras. Dr. Jutras is stepping down from his role as Editor-in-Chief after serving for eleven years in that capacity. Jutras, who is Professor of Piano and Associate Director at the Hugh Hodgson School of Music at The University of Georgia in Athens, GA, serv...
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What about that bass?

As piano teachers, we commonly show our students how composers divide pieces into three parts, such as in Sonata or Minuet and Trio forms. What  is often missed is that most music is composed with a vertical division of three as well. We are adept at teaching  students to focus on—and voice—the melodic  content. However, often overlo...
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