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  <a href="/blog/blog/7531110/always-be-prepared-three-songs-at-the-ready">Always Be Prepared: Three Songs at the Ready</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/4a6a46fa1b3202c6da1ed8ca74e115a8707acff0/original/dsc0233-2.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" height="3232" /><p>Isn’t that a Boy Scout motto? It is also good advice for pianists!<o:p></o:p></p><p>Wherever you are in your career, it is good to maintain your skills. If you are a pianist, you have probably experienced the situation where there is a piano at some social event you’re attending, someone finds out you play, and they ask you to “play something.” These words may thrill or terrify you! It is quite easy to bow out with “Oh, I’m sorry, I don’t have any music with me,” or, “It’s been awhile, I’m not really up to it.” But what if you had a few pieces at the ready, memorized and easy to recall, and if you had been keeping up by playing a little bit each day or each week as a matter of habit? <o:p></o:p></p><p>I am getting ready to give a solo piano recital soon, and I will admit that it is coming up more quickly than I would like. I do not have the time to prepare a brand-new program, so I am going back to pieces I have learned in the past: no warhorses, but pieces that fit easily in my fingers and that won’t take much time to work up again. It is nice to have a variety from which to choose, and while I would really like to do something new, nothing I have been working on in the last few months is anywhere near ready to take out in public yet, so some old standards will fit the bill for now.<o:p></o:p></p><p>Do you have pieces “at the ready” at any given moment? If not, do you have a list of pieces that you have studied and/or performed in the past? Take some time to look through your music books and make a list of “your” repertoire – things that you have studied and might like to work up again at some point. From that list, choose maybe three songs that you would like to work up to performance standard this year. As you are comfortable, play one for an audience: your family, a group of friends at a dinner party, or at a public piano in a hospital or senior center. Challenge yourself to have three songs at the ready at any one time. Keep them in your fingers by playing them once a week, or once a month, and then start a new list!</p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i><o:p></o:p></p></div>
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    <p class="post-info"><span data-time="2025-02-24T07:00:00-08:00" title="February 24, 2025 07:00">02/24/2025</span></p>

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  <p class="post-info">in <a href="/musical-reflections/blog/blog_categories/1988">Music</a>, <a href="/musical-reflections/blog/blog_categories/2016">Pianists</a>, <a href="/musical-reflections/blog/blog_categories/66971">Creating a Life in Music</a>, <a href="/musical-reflections/blog/blog_categories/67245">Practicing the piano</a></p>
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  <a href="/blog/blog/7531109/how-to-prepare-for-accompanying-an-instrumental-sonata-or-concerto-quickly">How to Prepare for Accompanying an Instrumental Sonata (or Concerto) Quickly</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/8eaf7fb4686a4b75323ca9f344b9bb029e60fa50/original/dsc-4458.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" height="667" /><p>For the past year I have been dabbling in student instrumental accompanying. While I have read with accomplished friends in the past, and accompanied professionals in concert, I had not previously worked much with students.<o:p></o:p></p><p>My first opportunity came up to play for a violin student at a local young artists’ festival. His repertoire was Prokofiev’s Waltz from Cinderella, the first movement of the Brahms Violin Sonata No. 1, and movements 1 and 2 of Mendelssohn’s Violin Concerto. His mother made contact with me on the 16<sup>th</sup> of the month; the festival was on the 20<sup>th</sup>. We had time for one rehearsal, and I had never played any of the pieces. I really wanted the job, so I surveyed an online Facebook group to find out if it was do-able, obtained the music, and got to work.<o:p></o:p></p><p>Here’s how I approached tackling the pieces:<o:p></o:p></p><ol>
<li>
<strong>Listen to a recording with the score</strong>. It is vital to get an overall picture of what the music is doing. I tried to find recordings (on YouTube) of both professionals and students playing, as I had no gauge for the ability of the violinist I would be playing with.<o:p></o:p>
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<strong>Play through the pieces</strong>. Do what you can to get from the beginning to end in one fell swoop.<o:p></o:p>
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<strong>Triage.</strong> What needs the most work? Identify the rough spots and focus solely on those, writing in fingerings, working out movements and technical difficulties until you can play them with ease.<o:p></o:p>
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<strong>Read again, under tempo.</strong> Can you get through at a moderate tempo without errors? If not, triage again. If it feels good, move on.<o:p></o:p>
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<strong>Learn the instrumentalist’s part.</strong> Ideally, you want to be able to play your part and sing/hum/speak the instrumental part. In a last-minute situation, this is not always possible, but you <u>must</u> know as much as you can about the other part. Notice where you play together, where you need to look up for a cue, where you need to listen for the start or end of a phrase. Play the part on the piano by itself. Listen to the recording again, paying attention to what the instrumentalist’s line is doing.<o:p></o:p>
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<strong>Play with a recording.</strong> We are fortunate to have technology on our side here. There are numerous recordings of standard repertoire available for free on YouTube, and you can even play them at slower speeds! Play the recording on your chosen electronic device, with or without headphones or with one earbud in, and play the piano along with it. Where do you fall out of sync? Are there potential trouble spots that you may need to address proactively in rehearsal?<o:p></o:p>
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<strong>Listen to as many different recordings as you can find, as many times as you can.</strong> Your goal is to know the piece as fully as you can – the form, phrasing, where the instruments dance together and where one shines and the other supports, etc. Every time you take a walk, get in the car, go to the gym, prep a meal…every chance you get, put on a recording.<o:p></o:p>
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<strong>Take notes and record your rehearsal with the instrumentalist.</strong> Make as many notes as you can in the music so that you can return later in private practice and work through any trouble spots you have personally or that were messy in collaboration. Record the rehearsal so you can go back and listen and identify any other problems you may not have been aware of “live.” <o:p></o:p>
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</ol><p>If you are already proficient at the piano and have good sightreading skills and technique, these steps should help you learn a new collaborative piece in a short amount of time. I was fortunate to have the Mendelssohn drop off in this particular scenario and I spent the bulk of my time learning and polishing the Brahms. The Prokofiev was much easier to learn and put together. That event led to more wonderful collaborations with that particular student, and to an ongoing professional relationship with his teacher and other students in the violin studio. I would not have benefitted from those interactions if I hadn’t first took a risk in accepting a last-minute accompanying request. <o:p></o:p></p><p>It's worth the risk! Challenge yourself, and the next time an opportunity presents itself for you to accompany a singer or instrumentalist in a new situation, take it! Hopefully you will enjoy more lead time than I did, but if not, take courage and commit to focused practice and intentional listening, and see where the music takes you.</p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i><o:p></o:p></p></div>
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  <p class="post-info">in <a href="/musical-reflections/blog/blog_categories/1988">Music</a>, <a href="/musical-reflections/blog/blog_categories/1989">Chamber Music</a>, <a href="/musical-reflections/blog/blog_categories/2016">Pianists</a>, <a href="/musical-reflections/blog/blog_categories/37002">Accompanying</a>, <a href="/musical-reflections/blog/blog_categories/66971">Creating a Life in Music</a>, <a href="/musical-reflections/blog/blog_categories/67245">Practicing the piano</a></p>
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  <a href="/blog/blog/7531099/adult-piano-camps">Adult Piano Camps</a>&nbsp;
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  <div class="message"><p>I received word last month that the Adult Piano Retreat that I taught at last year, and which enjoyed a 22-year run, has been discontinued. I was sorry to hear that, as the retreat was truly a special place for adult amateur pianists to be fully immersed in a week-long “love affair with the piano.” <o:p></o:p></p><p>Interestingly enough, a conversation popped up recently in one of the online groups I follow about someone wanting to start such a retreat in Poland! Because the group has an international following, many people chimed in with their thoughts on similar experiences in locations around the world. Here are a few that piqued my interest:<o:p></o:p></p><p>Residential programs<o:p></o:p></p><p>In Vermont: <a class="no-pjax" href="https://www.sonatina.com/sonata">https://www.sonatina.com/sonata</a><o:p></o:p></p><div class="video-container size_l justify_center" style=""><iframe data-video-type="vimeo" data-video-id="368276538" data-video-thumb-url="" type="text/html" src="https://player.vimeo.com/video/368276538" frameborder="0"></iframe></div><p><o:p></o:p></p><p> </p><p>Finchcock’s, in Kent, England: <a class="no-pjax" href="https://vimeo.com/743496255"><span>https://vimeo.com/743496255</span></a> <span><o:p></o:p></span></p><p><o:p></o:p></p><p>Finchcock's boasts boutique rooms and all kinds of course offerings, including this residential option geared toward improving your sightreading: <a class="no-pjax" href="https://www.finchcocks.com/availability/enjoying-sight-reading-with-david-hall/">https://www.finchcocks.com/availability/enjoying-sight-reading-with-david-hall/</a><o:p></o:p></p><p>Non-residential programs<o:p></o:p></p><p><a class="no-pjax" href="https://peabody.jhu.edu/preparatory/ways-to-study/departments/piano/piano-at-peabody/?fbclid=IwY2xjawIdqUhleHRuA2FlbQIxMAABHWXs9KSL7XvtrkhRsiXYAKmOnYMIkUb3xtR3npzRJe8pco7w-caPosGpqw_aem_P0vPMjal-uecBakLkQHhCQ" data-link-type="url"><strong>Piano at Peabody</strong></a></p><p>In Somerset, England, Jackdaws provides weekend piano courses: <o:p></o:p></p><div class="video-container size_l justify_center" style=""><iframe data-video-type="youtube" data-video-id="pI0pRRvXYFE" data-video-thumb-url="" type="text/html" src="https://www.youtube.com/embed/pI0pRRvXYFE?rel=0&amp;wmode=transparent&amp;enablejsapi=1" frameborder="0" allowfullscreen="true"></iframe></div><p><o:p></o:p></p><p>If you ever have a chance to attend such a retreat, I would encourage you to do so. Being in community with a group of fellow music lovers is a treasure, and receiving instruction and encouragement at the piano in a welcoming, safe environment is wonderfully inspiring. </p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i><o:p></o:p></p></div>
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  <p class="post-info">in <a href="/musical-reflections/blog/blog_categories/2016">Pianists</a>, <a href="/musical-reflections/blog/blog_categories/62033">Piano teaching</a>, <a href="/musical-reflections/blog/blog_categories/66972">Piano camps</a></p>
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  <a href="/blog/blog/7530477/what-does-a-piano-camp-look-like-free-webinar-march-7">What Does a Piano Camp Look Like? Free webinar March 7!</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/e4f6fe65003f2ed958b41ec8c98517782d552042/original/how-to-run-a-piano-camp-image-square.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" height="945" /><p>What is a Piano Camp? Have you ever run one? Are you thinking you’d like to?<o:p></o:p></p><p>Piano Camp is much like any other day camp you might be familiar with – a Vacation Bible School, YMCA day camp, or musical theater camp. It is a group of kids coming together to have fun while learning! <o:p></o:p></p><p>Piano Camp is an immersion in musical concepts related to the piano using fun games and activities. It could take the form of a half-day Saturday camp, a month-long one-hour-a-week camp, or a half day week-long camp. However you structure it, Piano Camp is a fun change from private lessons, an opportunity for kids to make music together in community, and a great way to teach and review music theory and history!<o:p></o:p></p><p>You can create your own materials or use ready-made curriculum. You may plan for existing piano students or decide to use the camp as a recruiting tool for new students. It may take the place of your private lessons in the summer, or you may use it to supplement your teaching.<o:p></o:p></p><p>Let me share how I run Piano Camps and then give you additional resources that will help you decide how you would like to tailor your camp(s)!<o:p></o:p></p><p>My student goals for Piano Camps are for students to 1) Have fun; 2) Review and solidify theory concepts; and 3) Be inspired to continue practicing. <o:p></o:p></p><p>My personal goals for Piano Camps are to 1) Enjoy a lighter summer schedule; 2) Maintain a steady summer income; and 3) Have fun teaching my students in a different format.<o:p></o:p></p><p>I like to run a four-day camp, two hours each day, with teenage student helpers (most recently, my own kids!). Two hours is a nice duration – just long enough for a variety of activities and not so long as to have down time where the kids get bored and into trouble!<o:p></o:p></p><p>I like to have a variety of large and small motor activities (running/movement versus card games and workbooks), a teaching element, and clear opening and closing routines. Games and activities should be accessible to a range of ages and abilities, and there should be a “fun” factor that makes it feel more like camp than school!<o:p></o:p></p><p>Since I like to run camps in June, teach private lessons in July, and take the month of August off, I start talking about my summer plans in March with current piano students. I send out a survey to determine who is available and when, and open summer registration in April. I spend the next few months spreading the word, registering campers, and gathering the necessary materials. <o:p></o:p></p><p>As you think about what your Piano Camp might look like, you will want to answer a few questions: Where and when do I want to hold a camp? What age range of students do I want to invite, and how many? What are my goals for the camp? How much do I want to charge? <o:p></o:p></p><p>One good place to start thinking about these things is Jennifer Foxx’s Summer Camps Q&amp;A (<a class="no-pjax" href="https://musiceducatorresources.com/2023/05/19/summer-camps-qa-music-teacher-tip-37/">https://musiceducatorresources.com/2023/05/19/summer-camps-qa-music-teacher-tip-37/</a>).<o:p></o:p></p><p>Another place is at <strong>my free 35-minute webinar on How to Run a Piano Camp</strong> being held <strong>Friday, March 7<sup>th</sup>, at 10am PST on Zoom</strong>. I will give an overview of what a camp might look like, share some planning resources, offer time for questions, and give you options of pre-made camps available for purchase. <a class="no-pjax" href="/how-to-run-a-piano-camp-webinar" data-link-type="page" data-link-label="How to Run a Piano Camp Webinar"><strong>Register here to save your spot!</strong></a><strong><o:p></o:p></strong></p><p>Running a Piano Camp is a great way to generate excitement around learning music and boosting interest in piano lessons. I hope you’ll give it a try!</p><p>Missed the webinar? <a class="no-pjax" href="/contact" data-link-type="page" data-link-label="Contact"><strong>Contact me</strong></a> to get on the waiting list for the next one!<br> </p><p>Need a ready-made piano camp for your beginner students? I have two in my shop! Check out <a class="no-pjax" href="https://coribelle.com/product/1077640-the-great-music-race-piano-camp" data-link-type="url"><strong>The Great Music Race</strong></a> and <a class="no-pjax" href="https://coribelle.com/product/1078306-musical-secret-agent-piano-camp" data-link-type="url"><strong>MSA: Musical Secret Agent</strong></a>.<o:p></o:p></p></div>
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    <p class="post-info"><span data-time="2025-02-17T20:48:56-08:00" title="February 17, 2025 20:48">02/17/2025</span></p>

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  <a href="/blog/blog/7529665/secrets-of-open-score-reading">Secrets of Open Score Reading</a>&nbsp;
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  <div class="message"><p>I have been playing for choirs for three decades now, and while I have always been a good sight reader, I am realizing more and more that I don’t actually read everything that I play (and that’s a good thing!). Maybe some of these “secrets” I have learned over the years will help you as you navigate the complex world of open-score reading:<o:p></o:p></p><ol>
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<strong>It is impossible to read ALL of the notes.</strong> Good readers are adept at scanning music quickly, noticing patterns, and filling in missing information (e.g. harmonies). If you think about how your eyes scan a piece of music, it is in a zigzag formation, scanning up and down, left to right, very quickly. At a slow tempo, with all parts moving at the same time, it is quite possible that you might be able to read every single note and play with 100% accuracy. But when the tempo speeds up, the harmonies change unexpectedly, or the parts move independently, the task becomes much more difficult. <i>Secret: Good sight-readers don’t actually read all of the notes all of the time.<o:p></o:p></i>
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<strong>Open score reading is not an Olympic event (but maybe it should be?).</strong> What is the goal of open score reading? It is to help the singers in the choir learn their parts with tonal and rhythmic accuracy. The goal is <i>not</i> to test the pianist’s ability to read every note on the page. If you can make it your goal to play 100% of the singer’s entrances, and 75% of the rest of the notes with tonal and rhythmic accuracy, you will be a great help to the choir. <i>Secret: It is okay to leave out notes.<o:p></o:p></i>
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<strong>Prioritize entrances.</strong> What do singers generally need the most help with? They need to know when their entrance is, and on what pitch they start. If you can help singers gain confidence in knowing where they come in – and on what note – each time, they can often take it from there (at least, until the next entrance or tricky harmony or rhythm). Mark <i>every </i>entrance in <i>every</i> voice part in your music and make it a priority to play them – even if you leave every other note out. <i>Secret: When you prioritize entrances, you set the singers up for success!<o:p></o:p></i>
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<strong>Cheat #1: You can approximate harmonies.</strong> Remember the idea that your brain scans the music and takes in information, but then fills in the rest? Try taking a simple hymn or four-part Bach chorale where the voice parts move in harmony. Read only the soprano, alto, and bass parts. Now, go back and read SAB again, this time filling in the tenor when you can. Or, read STB and let your brain fill in the missing harmonies in the alto part. I am finding more and more that what I actually do when I read four-part harmonies is read three parts and approximate the fourth. On a second or third read-through, I will often take a minute to look at that missing part to correct any errors. <i>Secret: In reality, good readers are often only reading three parts and letting their knowledge of harmonies and scanning abilities “fill in” the fourth.<o:p></o:p></i>
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<strong>Cheat #2: Mark your score.</strong> Help yourself wherever possible. If you have down time in a rehearsal, read through a piece of music away from the keys. Mark entrances and tricky rhythms, write in chord names (especially at cadences), and note where parts sing in unison. Give yourself as many visual clues as possible, in order to reduce the information overload that happens when you begin playing with the choir. <i>Secret: Writing in “clues” helps you prioritize what to play and can help reduce the amount of information you take in at any one time.<o:p></o:p></i>
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</ol><p>It <i>is</i> possible to become “good” at open score reading! Better yet, it is possible to be of great help to a choir when you make their success a priority by improving your scanning abilities, prioritizing entrances, and marking your score (and leaving some of those notes out!). Be the rhythmic and harmonic foundation, and the choir will have something to build upon. <o:p></o:p></p><p>Join my <a class="no-pjax" href="/open-score" target="_blank" data-link-type="page" data-link-label="Open Score"><strong>online workshop on How to Read Open Score </strong></a>for more tips and practical, hands-on exercises with reading SATB. Your registration includes a 37-page student workbook and an invitation to be part of a growing online community of choral accompanists.<o:p></o:p></p><p>For <i>more</i> practice with open score reading, you can purchase my <a class="no-pjax" href="https://coribelle.com/product/1063895-the-well-tempered-chorale-player" data-link-type="url"><strong>collection of Bach chorales</strong></a> in a variety of keys, working through the Circle of Fifths from easiest to hardest, ending with a familiar bonus chorale!<o:p></o:p></p><p>I also offer one-on-one coaching if you have specific questions about open score reading, breaking down a particular choral score, or other choral accompanying concerns! <a class="no-pjax" href="/contact" data-link-type="page" data-link-label="Contact"><strong>Message me</strong></a>, and let's chat!</p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i></p></div>
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  <p class="post-info">in <a href="/musical-reflections/blog/blog_categories/2016">Pianists</a>, <a href="/musical-reflections/blog/blog_categories/7068">Bach</a>, <a href="/musical-reflections/blog/blog_categories/37001">Choral music</a>, <a href="/musical-reflections/blog/blog_categories/37002">Accompanying</a>, <a href="/musical-reflections/blog/blog_categories/62032">Digital downloads</a>, <a href="/musical-reflections/blog/blog_categories/67245">Practicing the piano</a></p>
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  <a href="/blog/blog/7510069/watch-live-the-11th-national-chopin-piano-competition">Watch LIVE: The 11th National Chopin Piano Competition</a>&nbsp;
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  <div class="message"><div class="video-container size_l justify_center" style=""><iframe data-video-type="youtube" data-video-id="RGl6XP6l6HY" data-video-thumb-url="" type="text/html" src="https://www.youtube.com/embed/RGl6XP6l6HY?rel=0&amp;wmode=transparent&amp;enablejsapi=1" frameborder="0" allowfullscreen="true"></iframe></div><p style="text-align:justify;"><span style="color:#202020;">This week you have the opportunity to </span><a class="no-pjax" href="https://coribelle.us5.list-manage.com/track/click?u=3948024fd0df4b810b1737492&amp;id=307e7e2429&amp;e=d912e37afe" target="_blank"><span style="color:#007C89;"><strong>watch 23 young American pianists compete in the 11th National Chopin Piano Competition, LIVE,</strong></span></a><span style="color:#202020;"> from the Frost School of Music at the University of Miami. This competition happens every five years, and is one of a handful of major competitions that qualifies the top winners to enter the International Frederick Chopin Piano Competition in Warsaw.</span><br><br><span style="color:#202020;">Each contestant must prepare a number of selections from Frederick Chopin's catalogue of solo piano music for each of four rounds. The </span><a class="no-pjax" href="https://coribelle.us5.list-manage.com/track/click?u=3948024fd0df4b810b1737492&amp;id=10f7cff2b4&amp;e=d912e37afe" target="_blank"><span style="color:#007C89;"><strong>detailed list can be found here</strong></span></a><span style="color:#202020;">, but in summary:<o:p></o:p></span></p><ul>
<li style="text-align:justify;"><span>Round 1 must contain an Etude, a Waltz, a Nocturne (or another Etude), and a Ballade (or the Barcarolle or Fantasy in F minor) - roughly 25 minutes of music;<o:p></o:p></span></li>
<li style="text-align:justify;"><span>Round 2 must contain 6 Preludes and a Polonaise and another piece by Chopin to equal 40-50 total minutes of music;<o:p></o:p></span></li>
<li style="text-align:justify;"><span>Round 3 must contain a choice from two Sonatas, a full set of Mazurkas, and another piece by Chopin totaling 45-55 minutes of music.<o:p></o:p></span></li>
<li style="text-align:justify;"><span>Finally, Round 4 (the Finals) must contain the Polonaise-Fantasy, Op. 61, and one of Chopin's two Piano Concerti.<o:p></o:p></span></li>
</ul><p><span style="color:#202020;">Whew! Just writing about the 3+ hours of music that each of these pianists must have at their fingertips (and in their memory) makes me weary! However, I encourage you to take some time this week to listen to some of the pre-recorded rounds, or plan to watch live and enjoy this wonderful music. I have listened to six of the pianists so far, and every one of them shines with technical expertise, near-perfect accuracy, and musicality. I can't yet pick a favorite, but three out of the six impressed me with beautiful artistry and long singing lines. I don't know how the judges will choose a winner!</span><br><br><span style="color:#202020;">There are various cash prizes, but the top award is $100,000, automatic acceptance into the Warsaw Competition, a concert tour, and a studio recording on the Steinway &amp; Sons record label. (Did I mention that the contestants must be between 15 and 29 years of age in order to be eligible to compete?)</span><br><br><span style="color:#202020;">It is worthwhile to start by watching a bit of the Preliminary Session (click the video above), as the emcee is Ben Laude of The Chopin Podcast, and he gives a nice introduction to the competition. He also interviews the contestants in the LIVE broadcasts as they are available, and you can find their interviews mixed in with the performances (usually at the beginning/end of a "break" in the schedule after three pianists have played).</span></p><p><i>Keep up with my writing by subscribing to the blog on </i><a class="no-pjax" href="https://feedly.com/i/subscription/feed%2Fhttps%3A%2F%2Fcoribelle.com%2Fblogs%2Fmusical-reflections.rss" target="_blank" data-link-type="url"><i><strong>Feedly</strong></i></a><i> or to my </i><a class="no-pjax" href="/get-the-newsletter" target="_blank" data-link-type="page" data-link-label="Get the Newsletter"><i><strong>monthly newsletter</strong></i></a><i>.</i></p></div>
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    <p class="post-info"><span data-time="2025-01-06T19:49:42-08:00" title="January 06, 2025 19:49">01/06/2025</span></p>

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  <a href="/blog/blog/7510067/planning-for-the-new-year">Planning for the New Year</a>&nbsp;
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  <div class="message"><p><span style="color:#202020;">Happy New Year!</span><br><br><span style="color:#202020;">For me, the new year is a mix of looking backwards and looking forwards. I always enjoy my new calendar, new planner, and freshly-cleared--out spaces after the busyness and joyful clutter of the holiday season, but before I look ahead to what is to come, I like to spend time reflecting on the passing year. Part of my "taking stock" this year included an inspiring <span>Planning Workshop</span> led by podcast host Jennet Ingle.</span></p><p><span style="color:#222222;">Oboist and music business coach Jennet Ingle produces an inspiring and informative podcast called </span><a class="no-pjax" href="https://coribelle.us5.list-manage.com/track/click?u=3948024fd0df4b810b1737492&amp;id=2fa27fed26&amp;e=d912e37afe" target="_blank"><span style="color:#007C89;"><strong>Crushing Classical</strong> </span></a><span style="color:#222222;">that I have followed for over a year now. She talks about her thoughts on being a musician, but mostly she interviews many varied classical musicians about their unique path in music. Recently she offered a free planning workshop via Zoom, and I joined over a dozen musicians for a session on assessing where we've come from and where we're going.</span><br><br><span style="color:#222222;">Jennet led by introducing herself and then quickly asked everyone to "choose a word" describing last year, and then one for what you want next year to look like. Many of us expressed a sense of fullness, busyness, or even clutter over the last year, with a desire for focus, streamlining, and intentional work in the new.</span><br><br><span style="color:#222222;">Jennet also led us in an exercise to consider:</span><br><span style="color:#222222;">1) What happened last year (in your musical life) that was fantastic?</span><br><span style="color:#222222;">2) What happened last year (in your musical life) that was just so-so or draining?</span><br><span style="color:#222222;">3) What do you <u>want</u> to happen in 2025? What do you <u>not want</u> in 2025?</span><br><br><span style="color:#222222;">She encouraged us to look through our camera roll or last year's calendar to help us remember what last year looked like, and think about cutting out or paring down those jobs/roles/activities that were just "meh" or draining, and plan for more of those that capitalize on our specific gifting and expertise. </span><br><br><span style="color:#222222;">These may seem like common-sense questions, but how often do we really take the time to reflect on where we are spending the most time, and consider a better way to prioritize what is important, life-giving, and the best use of the talents and gifts we have been given?  I encourage you to take 30 minutes and try this for yourself!</span></p><p><span style="color:#202020;">What are your plans for 2025? Are you looking to add more music to your year? Are you planning ahead for new creative projects, concerts, travels? </span><a class="no-pjax" href="/contact" target="_blank" data-link-type="page" data-link-label="Contact"><span style="color:#202020;"><strong>Message me</strong></span></a><span style="color:#202020;"> - I'd love to hear from you!</span></p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i></p></div>
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    <p class="post-info"><span data-time="2025-01-06T19:46:44-08:00" title="January 06, 2025 19:46">01/06/2025</span></p>

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  <a href="/blog/blog/7481978/anatomy-of-a-choir-rehearsal">Anatomy of a Choir Rehearsal</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/865933cb949111888317eda827e491e441baa130/original/sofnw-948px.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" height="677" /><p>Have you ever wondered what a choir rehearsal looks like?</p><p>I have played for a number of choirs over the years - church, university, elementary school, junior high and high school, community, and professional - and they all run about the same!</p><p>You may remember grade school choir, where the teacher would help you warm up your voice by singing various exercises up and down the scales, perhaps on solfège syllables, and then you would learn your voice part by hearing it sung and then singing it in imitation. Maybe you were given music in a binder and were taught to follow the rise and fall of the notes on the page.</p><p>Many people return to choir as adults because they had some special moment in the past with music. They can remember being touched by a certain piece of music, getting inspired by a music teacher, or having sung in an incredible space. Often, these returnees are coming from professions other than music. They have chosen to study law, business, or medicine, or have become schoolteachers or homemakers. They may have some formal music training in voice or in an instrument, but career and family have taken over the majority of their time. These music-lovers have often retired from their career, so that they have more leisure time, but there are also those who, despite their busy lives, have decided to seek respite in a musical community.</p><p>For that is what a choir is - a gathering of people who love music and who dedicate time to its study and performance. But it is even more than that, because being a great choir means having a certain level of humility and willingness to work toward a common goal.</p><p>Most choirs outside of a church or school setting require their members to pay dues. These dues help to pay for the director and accompanist, and also function as an initial commitment to the choir. Beyond financial investments, choir members are strongly encouraged to sell tickets and volunteer on the board or take on a variety of volunteer roles in marketing, grant-writing, logistics, facilities, recruitment, concert dress, and so on. It may sound funny to pay and have to work for the privilege of singing in a group, but that is the reality of how choirs function. </p><p>Some choirs audition their members, which usually means the director will meet one on one with each person and have them sing while he or she plays notes on the piano, to determine which voice part the person is. Women's voices tend to sing soprano and alto parts, and men's voices tend to sing tenor and bass parts, although it is not uncommon to have women tenors, and in a children's choir you might see boy sopranos and altos. The director might also want to test a person's music-reading ability with a page of music. While not all choir directors expect members to read music well, generally they want people to have some familiarity with the notes on the page.</p><p>Adult choirs generally meet once a week, while school choirs may meet several times. After vocal warm-ups, the director usually gives the plan of rehearsal and starts rehearsing the music. Depending on the level of the choir, you may sing through a new piece of music all the way through, or you may start learning the parts by listening to them being played. Often, adult choirs will provide recordings of parts through .mp3 files so that members can go home and practice singing their parts with the recording before they return to choir the following week. Usually the music handed out is owned by the choir, and lent to the members for the quarter or the season.</p><p>Adult choirs are not usually required to memorize the music, but children's choirs often are. There may be requirements for attendance, especially if members desire to sing in the concerts.</p><p>If the rehearsal runs a few hours, it is not unusual to have a break in the middle. Sometimes refreshments are provided, and often announcements are given before or after the break. Adult choirs also generally have some form of communication (e-mail, social media) so that members can contact each other during the week for announcements, volunteer opportunities, information about ticket sales or concert dress, or arranging carpools. </p><p>Being part of a choir is a special thing. The choir is a microcosm of the greater community, including so many wonderfully diverse people. Choristers work hard to learn all kinds of music and bring it to a standard of excellence so that they can provide musical encounters that touch the hearts of friends and family. The magic of many voices blending together into a unified whole is an amazing thing to witness, but so much more exciting to be a part of!</p><p>If you are considering joining a choir, and would like to know more, check out these articles from ABC Classic:</p><p><a class="no-pjax" href="https://www.abc.net.au/listen/classic/read-and-watch/music-reads/everything-you-want-to-know-about-joining-a-choir/102964604" target="_blank" data-link-type="url"><strong>Everything You Want to Know About Joining a Choir but Were Too Embarrassed to Ask</strong></a></p><p><a class="no-pjax" href="https://www.abc.net.au/listen/classic/read-and-watch/music-reads/how-does-a-choir-work/102851084" target="_blank" data-link-type="url"><strong>How Does a Choir Work?</strong></a></p><p><a class="no-pjax" href="https://www.abc.net.au/listen/classic/read-and-watch/music-reads/how-to-find-your-choir-crowd/102888808" target="_blank" data-link-type="url"><strong>How to Find Your Choir Crowd</strong></a></p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i></p></div>
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  <p class="post-info">in <a href="/musical-reflections/blog/blog_categories/1988">Music</a>, <a href="/musical-reflections/blog/blog_categories/37001">Choral music</a></p>
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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blog/blog/7479519/my-path-to-choral-accompanying">My Path to Choral Accompanying</a>&nbsp;
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  <div class="message"><p>I fell into choral accompanying quite unexpectedly. I was in high school at the time, having taken private piano lessons for a number of years. I was a good sight reader, and loved playing duets with my dad as well as my teacher, who would sometimes suggest reading through duo-piano literature instead of our usual repertoire – to my delight! <o:p></o:p></p><p>There was a certain boy who sang in the top auditioned choir at my high school, and when he off-handedly suggested that I come play for the group, I jumped at the chance. One day after school, we approached the choir teacher with the idea. She asked me to play for her, which I did, and then she inquired about my study hall – which happened to be at the same time as this top choir slot. Immediately I was “hired,” and I’ve never looked back!<br><br><o:p></o:p></p><p>Those first rehearsals were rough, as I had never played for a choir before. I learned to “give pitches,” playing first the bass, then tenor, alto, and soprano starting notes; to read different lines at the same time (soprano and bass, alto and tenor, and all sorts of other combinations); and to follow the conductor’s gestures. I failed many times, but fortunately there was much grace, and I ended up playing for all four choirs for the next four years, and then was hired “for real” when I graduated and I continued to play for concerts while pursuing my undergraduate degree in a neighboring city.<o:p></o:p></p><p>My early exposure to amazing musical experiences in my high school set the stage for a lifetime of pursuing music, most specifically in the realm of collaborative piano (accompanying), but also leading to numerous performance opportunities, gigs, the birth of a house concert series, and a private piano teaching studio. The music program at my high school introduced me to the world of musical theater (Fiddler on the Roof, Westside Story, Something’s Afoot), opera (with in-residence opera singers and coaches), Christmas caroling a la The King’s Singers, the magic of John Rutter (Gloria, and his many songs for chorus), and touring the British Isles (with a choir made up of high school alumni).<o:p></o:p></p><p>From there, I went on to major in Piano Performance and spent as much of my “free” time as I could accompanying choirs, opera and musical theater productions, and voice lessons and recitals. After I graduated, I played for an accomplished 100-voice church choir that sang at notable local concert venues as well as travelled to Rhode Island and Detroit, Michigan, to sing world premieres of works by ASCAP composer Dr. Stephen Michael Newby.<o:p></o:p></p><p>Once I married and had three children, life in the music lane slowed a bit, but I kept my “chops” up by practicing when I could, and though I let go of the church choir position when home life got too busy, I started to miss it before too long. After a few years, I started to research local community choirs. I ended up going to a summer “sing” of masterworks where I introduced myself to the accompanist and offered to substitute if she ever had a need. Much to my surprise, I got a call not long after, and I began subbing regularly for her choir. That eventually led to a job opportunity when her schedule became too busy for her to continue with the choir. <o:p></o:p></p><p>I have since filled in as a substitute and danced around with a number of choirs in the area, which has been wonderfully fulfilling and has led to even more networking, friendships, and rich musical collaborations.<o:p></o:p></p><p>The choir world is a unique one, in that it is made up of a wide variety of people. Of course, serious professional singers may be a part of a choir, but more often than not, choirs are made up of schoolteachers, psychologists, judges, lawyers, doctors, chefs, waitresses, actors, music teachers, firefighters, and every other profession that you can think of. The members may have minored in music, or they may just miss singing in their church choir. They may be proficient sight readers, or they may be fantastic aural learners who struggle to read music notation. Usually, every member can point to one significant musical memory from their childhood that got them “hooked.” And the best choir directors can take this conglomerate of people, musical abilities, and experiences, and weave their voices into a beautiful, unified tapestry of sound that touches the souls of those who listen. It is an amazing thing to be a part of. <o:p></o:p></p><p>What about you? If your musical journey includes choral accompanying, how did you get started?</p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i><o:p></o:p></p></div>
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  <p class="post-info">in <a href="/musical-reflections/blog/blog_categories/1988">Music</a>, <a href="/musical-reflections/blog/blog_categories/2016">Pianists</a>, <a href="/musical-reflections/blog/blog_categories/37001">Choral music</a>, <a href="/musical-reflections/blog/blog_categories/37002">Accompanying</a></p>
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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blog/blog/7477428/adult-piano-retreat-music-as-healing-worship-and-celebration-in-the-bible">Adult Piano Retreat: Music as Healing, Worship, and Celebration in the Bible</a>&nbsp;
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  <div class="message"><p><i>This is the fourth in a series of posts about the </i><a class="no-pjax" href="https://coribelle.com/blog/blog/7472941/a-week-at-the-adult-piano-retreat-in-leavenworth" target="_blank" data-link-type="url"><i>2024 Adult Piano Retreat</i></a><i> at Icicle Creek Music Center in Leavenworth, Washington. </i></p><p>At this year's Adult Piano Retreat, I gave an optional talk concerning Music as Healing, Worship, and Celebration in the Bible. We are so blessed, as musicians, to have been given the gift of music. Not everyone is fortunate to have spent any number of years in private music lessons, learning the language of music and discovering the riches therein. For those of us who have had that privilege, I believe it to be a gift given by the Creator of music itself, not only for our personal enjoyment, but also for the benefit of others, providing a way of healing, worship, and of celebration.</p><p><span>You may be familiar with King David, one of Israel’s most famous kings, who wrote a majority of the psalms in the Bible. He was one of several sons of a man named Jesse – not the firstborn or the tallest or strongest, but the youngest, whose days were spent tending sheep. He was anointed by the prophet Samuel to be king in the place of King Saul. The Bible says that David was God’s choice for a king, and not because of his outward appearance, but because of what was in his heart. <o:p></o:p></span></p><p><span>David went from being a shepherd boy to being a king, all the while being a musician and using music to express his joy, sorrow, and worship of God. <o:p></o:p></span></p><p><span>We pick up the story in I Samuel 16:<o:p></o:p></span></p><p><span style="color:black;"><i><span><strong><sup>14 </sup></strong>Now the Spirit of the Lord had departed from Saul, and an evil spirit from the Lord tormented him.</span><o:p></o:p></i></span></p><p><span style="color:black;"><i><span><strong><sup>15 </sup></strong>Saul’s attendants said to him, “See, an evil spirit from God is tormenting you.</span> <span><strong><sup>16 </sup></strong>Let our lord command his servants here to search for someone who can play the lyre. He will play when the evil spirit from God comes on you, and you will feel better.”</span><o:p></o:p></i></span></p><p><span style="color:black;"><i><span><strong><sup>17 </sup></strong>So Saul said to his attendants, “Find someone who plays well and bring him to me.”</span><o:p></o:p></i></span></p><p><span style="color:black;"><i><span><strong><sup>18 </sup></strong>One of the servants answered, “I have seen a son of Jesse of Bethlehem who knows how to play the lyre. He is a brave man and a warrior. He speaks well and is a fine-looking man. And the Lord is with him.”</span><o:p></o:p></i></span></p><p><span style="color:black;"><i><span><strong><sup>19 </sup></strong>Then Saul sent messengers to Jesse and said, “Send me your son David, who is with the sheep.”</span> <span><strong><sup>20 </sup></strong>So Jesse took a donkey loaded with bread, a skin of wine and a young goat and sent them with his son David to Saul.</span><o:p></o:p></i></span></p><p><span style="color:black;"><i><span><strong><sup>21 </sup></strong>David came to Saul and entered his service. Saul liked him very much, and David became one of his armor-bearers.</span> <span><strong><sup>22 </sup></strong>Then Saul sent word to Jesse, saying, “Allow David to remain in my service, for I am pleased with him.”</span><o:p></o:p></i></span></p><p><span style="color:black;"><i><span><strong><sup>23 </sup></strong>Whenever the spirit from God came on Saul, David would take up his lyre and play. Then relief would come to Saul; he would feel better, and the evil spirit would leave him.</span></i><span><o:p></o:p></span></span></p><p><span style="color:black;">At this time, Saul did not know that David was to be his successor; in fact, over the next few years, David would kill the giant Goliath, befriend Saul’s son Jonathan, and go out on military missions for Saul – killing a great number of enemies. Saul became increasingly jealous of David’s conquests and fame, and David continued playing his lyre in attempts to calm his spirit. (I Samuel 18:10; 19:9)<o:p></o:p></span></p><p><span style="color:black;">Maybe you have experienced the healing nature of music, too. I have a friend who plays cello both for “entertainment” and as therapeutic healing; she plays for hospice, too. And I remember a time awhile back when an old family friend emailed me and remarked on listening to a recording of my music when her father was dying, and being comforted by it.<o:p></o:p></span></p><p><span style="color:black;">Music is this remarkable gift that we have been given – to educate, inspire, and entertain, but also to express those deep emotions that cannot quite be expressed in words. <o:p></o:p></span></p><p><span style="color:black;">This same David, after he became king, danced wildly in the streets after the ark of the covenant returned to Jerusalem (2 Samuel 6:14-15):<o:p></o:p></span></p><p><span style="color:black;"><i><span><strong><sup>14 </sup></strong>And David danced before the Lord with all his might, wearing a priestly garment.</span> <span><strong><sup>15 </sup></strong>So David and all the people of Israel brought up the Ark of the Lord with shouts of joy and the blowing of rams’ horns.<o:p></o:p></span></i></span></p><p><span style="color:black;"><i><span>His wife, Michal, was deeply embarrassed, and told him so. His response:<o:p></o:p></span></i></span></p><p><span style="color:black;"><i><strong><sup>21 </sup></strong>David retorted to Michal, “I was dancing before the <span>Lord</span>, who chose me above your father and all his family! He appointed me as the leader of Israel, the people of the <span>Lord</span>, so I celebrate before the <span>Lord.”</span></i><span><o:p></o:p></span></span></p><p><span style="color:black;">Music can express our exuberant joy and our devoted worship. <o:p></o:p></span></p><p><span style="color:black;">J.S. Bach made notes in his Bible about the spiritual nature of worship. At the conclusion of I Chronicles, he noted, “Splendid proof that…music was instituted by the Spirit of God through David.” And then in response to this passage in 2 Chronicles 5:13 – <o:p></o:p></span></p><p><span style="color:black;"><i>“The trumpeters and singers joined in unison, as with one voice, to give praise and thanks to the Lord…Then the temple of the Lord was filled with a cloud, and the priests could not perform their service…for the glory of the Lord filled the temple of God,”</i><o:p></o:p></span></p><p><span style="color:black;"><span> </span>– he wrote “Where there is devotional music, God is always at hand with His gracious presence.”<o:p></o:p></span></p><p><span style="color:black;">Like David, Bach could not help but worship God with his music. Not only did the routinely inscribe his manuscripts with the letters “S.D.G.” (Soli Deo Gloria – “To God alone, the glory”), he would frequently initial his blank manuscript pages with the marking, “J.J.” (Jesu Juva – “Help me, Jesus”), or “I.N.J.” (In Nomine Jesu – “In the name of Jesus”). <o:p></o:p></span></p><p><span style="color:black;">Music as healing, as celebration, as worship…<o:p></o:p></span></p><p><span style="color:black;">I find that I am most at ease as a performer when I am conscious of being in the service of music – that my job is to minister to my listeners the beauty and goodness inherent in the music I’m playing. When I instead turn inward, and let my mind drift to questions about what the audience might think about <i>me</i> rather than <i>the music</i>, I quickly spiral down the path of self-consciousness and self-doubt. It is only when I am a conduit, or a servant, of the music itself, aiming to <i>give</i> to my listeners, that I am most at peace.<o:p></o:p></span></p><p><span style="color:black;">What about you? How have you experienced music to be healing, or celebratory, or worshipful in your life?</span></p><p><i><span>Read more about this week of Piano Camp in Leavenworth here:</span></i></p><p><a class="no-pjax" href="https://coribelle.com/blog/blog/7472941/a-week-at-the-adult-piano-retreat-in-leavenworth" target="_blank" data-link-type="url"><strong>What was it like?</strong></a></p><p><a class="no-pjax" href="https://coribelle.com/blog/blog/7477031/adult-piano-retreat-let-s-talk-about-the-music" target="_blank" data-link-type="url"><strong>Let's Talk About the Music!</strong></a><br><a class="no-pjax" href="https://coribelle.com/blog/blog/7477197/adult-piano-retreat-keys-to-a-solid-performance" target="_blank" data-cke-saved-href="https://coribelle.com/blog/blog/7477197/adult-piano-retreat-keys-to-a-solid-performance"><strong>Social hour: Keys to a solid performance</strong></a></p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i><span style="color:black;"><strong><o:p></o:p></strong></span></p></div>
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    <p class="post-info"><span data-time="2024-10-18T20:31:46-07:00" title="October 18, 2024 20:31">10/18/2024</span></p>

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