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I have slowly been making my way through Ravel’s Jeux d’eau. You may know the piece from the 2024 Olympics, when it was played in the opening ceremonies by pianist Alexandre Kantorow on a grand piano in pouring rain.

The picture makes me cringe – what an awful way to treat a beautiful instrument! However, the image of rain falling on the very instrument whose music simulates the movement of water is incredibly effective. My shock and awe at this sight drove me to explore the piece myself a few months later.

Let me start by saying that this is a difficult piece to learn! It is not straightforward like Mozart, where the notes fit neatly into their appointed beats and the melody is often clearly delineated in the right hand. Instead, Ravel seeks to create an impression of the different ways in which water moves.

In the Pacific Northwest, we are very familiar with water, specifically rain! Our rain comes in all shapes and sizes: fine mist that you barely see, steady unrelenting rain lasting weeks on end, quick torrential downpours, light pitter-patter drops that evolve into unexpected hailstorms. And then there are the rivers, lakes, ocean...and the waterfalls that barely drip with water in the summer’s heat but cascade violently during winter storms. Think of the millions of tiny water droplets that make up all these expressions of water and then imagine translating them into ink by giving a toddler a ballpoint pen with the instruction to “cover the paper with dots.” This is what the music looks like. How do you even make sense of it all?! My process with this, and all new pieces of music, tends to look like this:

1. Get an overview – listen with and without the score, muddle through a first reading

2. Analyze sections to identify patterns, work out chunks

3. Practice note by note, taking it apart hands separately, and write out the beats where necessary

Zoom in, zoom out and repeat. Even though I may start this process by going through steps one, two and three consecutively, I am constantly revisiting one or the other of the steps as I work towards mastery. I can never stay in one step exclusively or I hinder my own progress.

When presenting a new piece to a student for the first time, we make choices about how we will teach it: play it first for them; talk through it and analyze what is happening; or let them muddle through without any assistance. All three approaches accomplish different goals, and all three approaches are needed throughout the student’s time of study with us.

When we approach a new piece ourselves, we also make choices about how we will begin learning it. It is important to get an overview of it at some point (some may argue that this is an essential first step), perhaps by listening to a recording or muddling through a first reading. The latter is almost impossible to do in the Ravel, as parts are just not readable at first glance. Nonetheless, it is important to have an idea of how the piece is laid out and what Ravel is trying to communicate.

Analysis can get us a long way, as we study the piece first for an initial theme and begin noting sections that vary from, or repeat, the theme. We look for key changes, tempo changes, and register changes. We might even mark our music before we ever begin playing, identifying an ABA form or writing in names of notes or chords that are difficult to read (multiple ledger lines, for instance, or passages with double sharps!).

Practicing note by note, hands separately, slowly and methodically is also an important strategy, but it can be easy to “miss the forest for the trees.” In other words, we can get too focused in on the minutiae that we lose the whole arc of the piece if we stay in this mode too long.

Our practice must constantly be a process of zooming in and zooming out. Similarly, we need to teach our students to have a sense of the whole (This is usually not a problem, as students like to power through to the end, despite making numerous mistakes, or playing haltingly as they struggle to figure out notes in the midst of “getting through”) and to attend to small sections that need troubleshooting. This is why “play your piece three times a day” or “practice for 30 minutes a day” is not sufficient instruction. We need to spend time during the lesson demonstrating how to look at the big picture and identify sections (zooming out), and then in writing in fingering and practicing short bits in a focused and detailed manner (zooming in) so that our students learn effective ways to practice.

One fun way I like to “zoom out” when students are getting lost in practicing short bits is by taking them to the last four measures of a piece and teaching them the section. We then discuss working backwards as a practice strategy: now that they know the last four bars, they can learn the few bars before those and play to the end, feeling a sense of accomplishment!

If you play for a choir, you know that practicing choral music often demands a quick, efficient approach. This is where analysis is most beneficial to begin with, then muddling through the whole piece (identifying shortcuts), and working note by note only at crucial points. If you are interested in learning more about this approach, you can check out my Open Score reading workshop.

Practicing does not have to be a chore; it can be an enjoyable process of problem-solving and discovery when we learn to zoom in and zoom out, taking advantage of our time and energy by working hard on details in short, focused bursts, and then rewarding ourselves with the chance to play what we know and have already mastered – or listening to the music with our score and taking note of what another pianist does to make it musical.

Which of these three phases of music learning do you enjoy most? Do you tend to spend your time in [teaching or practicing] one phase more than the other two? I didn’t even speak to the topic of memorizing - is that a part of your learning process? Let me know in the comments!

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My formal training in piano stopped shortly after I completed my undergrad. I took a few graduate level courses at an international music school, but never ended up pursuing my master's degree. Yet, I have worked hard in the years since to maintain my skills and even to improve both technically and artistically. There were opportunities that presented themselves to me - like being offered the pianist position at my church and taking one-off lessons with a friend's teacher - and others that I intentionally pursued - like getting into the musical theater world and finding a community choir. But the thing that has grown me the most is something I never would have predicted: listening to myself play.

In 2018, my children were squarely in the grammar school phase and it occurred to me that I should try making a CD during the hours in which they were attending school. I'd recorded one before, with the help of friends who owned a small production studio, and we had recorded live tracks at a beautiful music center in the mountains. (Listen to that album here.) I'd also been a part of several live choral recording projects, so I was aware of the pressure to perform and the hyper-consciousness one enters when in such a situation. But I didn't want to record in a studio on someone else's instrument or even on a single day. My vision was to record on my own piano, in my own living room, over the course of weeks, taking a leisurely pace and listening to takes in between recording sessions.

Doesn't that sound fantastic? The reality was so much different (read more about that here). Between the piano developing weird clicks, airplanes roaring overhead, and the neighbors mowing their lawns, it was quite the experience! I learned a lot about self-recording and producing. But I learned a whole lot about myself as a pianist, too.

Listening to recordings of yourself is eye-opening and not for the faint of heart! The process of recording and my desire to share my music turned the heat up even more, and so for several months I scrutinized my playing ruthlessly. Everything was subjected to criticism, and I found myself asking, “What makes my playing different? What is my signature sound? How might I convey my personality and feelings about this music solely through sound? Who am I as an artist? What differentiates my sound from the thousands of existing recordings?”

The exercise was immensely stretching and so good for my playing. I became more concerned about accuracy, but also more intent on producing a beautiful tone. I wanted listeners to hear the shimmery top of my piano and feel like they were in my living room listening to one of my intimate house concerts.

In the end, the recording was far from perfect, and there are definitely things I would do differently a second time around. But it was mine. And I had emerged a better musician and pianist because of it. (Listen to the recording here.)

Why do I share all of this with you? Because too often we sit down and play the piano for the thrill of playing and we forget to listen to what we're producing. The physicality of playing is so absorbing that we forget to make music. Either we are facing technical challenges, or fingering difficulties, or odd leaps, or we're taking pride in how fast our fingers can fly and what kind of physical gymnastics we're capable of at the keyboard. It is so easy to forget about the sound. Even worse, when we are faced with a new piece of music, especially in a collaborative situation where we are playing for a choir, we get so hyper focused on playing the correct notes that we forget to breathe and sing the lines.

We have the incredible privilege of being musicians. Our goal is to make music. And the way we get there is to start listening.

In your playing this week, whether on your own or with a choir, I encourage you to listen intently to the sound you are making. Challenge yourself to be musical every time you sit down, even during a first reading. You will find that it makes the process so much more enjoyable, and your playing will be better because of it!

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"Tell me about what you just played. Did you include the dynamics?"

"I don't know."

Have you had a similar exchange in your studio? This is all too common with my students. They play for me; I make some comments, praising them for what they did well and addressing one or two things that need work; and then they try again. Then they look to me for my approval. 

But I don't want them to always look to me; I want them to notice if they have accomplished what they set out to do. I want them to listen.

My goal in piano teaching is to create independent learners. I want my students to play well technically and express themselves musically, but I also want them to eventually be able to learn music on their own. In order to do this, I will need to spend a number of years with them building up their technical, musical, and reading skills. I also need to teach them to listen.

How is this accomplished?

When students first come to us, their movements are often crude and unrefined, and they are so intent on pushing the keys that they forget to listen. But that doesn't mean they can't be taught! This is why we begin teaching them how to count, drawing their attention to when notes move higher or lower - aurally and visually and kinesthetically. It is why we teach dynamics and the difference between staccato and legato playing. As they grow, we talk about phrasing and making the music sound like a conversation, or a story. We introduce concepts like rubato.

We  need to teach students to pay attention to what they are doing at the piano.

One thing we can do to help our students begin listening to themselves is to have them play through a piece once, working out movements and fingerings, and then ask them to play it a second time with dynamics (or articulation, or whatever it is you want them to attend to). The physical won't always be isolated in practice, but it is often this way when we approach a new piece.

We can't toss out body mechanics. Students still need to move their fingers, control the force of their arm weight, and so on. And so much of their work in learning to play the piano is focused on controlling their movements. But as they work out technical difficulties, they ought also attend to the sound.

I remember learning in this fashion for many years - practicing to master playing the instrument with each new piece I was given - and then my teacher would start asking me to "add expression."

As pianists, our goal should always be to play musically. The movements our bodies make are just a means to an end. If we, or our students, can play all of the correct notes but lack any shaping of the phrase, articulation, dynamics, or rubato, what are we doing?

I like to tell my students that the piano is a musical instrument, not a computer! 

Pressing the right keys doesn't make music. Shaping the sound with the way we move, breathing between phrases, listening to how notes rise and fall, and making adjustments to the tempo and dynamics does!

Here are some things we can do to train our students to listen so that they can become musicians at the keyboard, not merely piano "players":

1. Demonstrate what we want them to do. Have the student sit in your "teacher chair" while you play. Talk about what you are doing. Then, have the student try to imitate your playing. Praise their efforts. Discuss how they can manipulate their movements to achieve a certain sound.

2. Record the student and play it back to them. Tell them what to listen for. When students are physically removed from making the sound, they can listen more intently.

3. Play recordings of other pianists, either audio or video, for your students and encourage them to listen for a specific thing each time.

As students mature and become more self-aware (and better listeners), they will develop the ability to play more musically. Their desire to make music will grow, and they will begin self-correcting their mistakes and adjusting their movements to create the kind of sound they want to hear. 

As you welcome students to lessons this week, consider how you can encourage them to be better listeners as they play!

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1. Duets are fun! As one of my young beginners said once, “It sounds better when we play together.” A duet can help the simplest beginning song sound like “real music,” and even our youngest students need to experience making beautiful music!  I love mixing things up once in awhile and starting a lesson by playing a duet with a student. 
2.  
3. Here are some reasons why playing duets with our students can be really beneficial:

• Duets are one way to teach steady beat. We can clap, count, march, and tap until we are blue in the face (and sometimes we do!), and still we have students who need more practice with this concept. Duets are one tool we can use to help keep the beat as our students play, and as we play together more often, the experience can help our students start to internalize a steady pulse.
• Duets strengthen the teacher-student bond. We all want to connect with our students, to form a relationship of trust and respect so that the teaching-learning exchange is profitable and enjoyable. When we sit beside our students and play duets, we create a shared experience where for a moment we are musicians together.
• Duets are a great way to practice sightreading. Some students will naturally read every piece of music they can get their hands on. Others need a little encouragement. Find pieces that are a level or two below the student’s playing level, and read them together as a duet at a moderate tempo. Help the student be successful by previewing the score together, discussing where there might be unexpected rhythms, leaps, or key changes. Then, set the tempo and play!

If you are using a method book series like Faber and Faber, Alfred, or Bastien, you will find teacher duets written in the lesson book for many of the student’s songs. These are great to play with beginners after the student has mastered playing their part.

For students who have been taking lessons for a few years, Margaret Goldston has some fun elementary level duets that are great for sightreading. Try “Duets for Bear Lovers,” “Duets for Cat Lovers,” or “Duets for Dog Lovers.” (I just learned that she also has three books of “Duets for Christmas Lovers!”) Goldston’s books feature primo and secondo parts of equal difficulty, and it can be fun to take turns playing each part with your students.

You might also try Helen Marlais’ “In Recital Series” of duet books published by Alfred Music. 

A fun book for intermediate and advanced students is The Rodgers and Hammerstein Piano Duet Book arranged by Walter Pels and David Carr Glover. (You may have to find this one as a used copy!) Depending on your student’s sightreading ability, you may prefer to assign pieces in this book for the student to study at home before playing together.

At the advanced level, students may enjoy Faure’s Dolly Suite, Dvorzak’s Slavic Dances, Compton’s C.S. (Chopsticks) Theme and Variations, or any of a number of wonderful pieces for four hands.

What are some of your favorite duets to play with students? Let me know in the comments!

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Commit to doing one thing better.

That's it: one thing! What is the one thing you want to have accomplished today at the piano?

We can easily over-complicate things as adults. We think we need to come up with a warm-up routine, or read through a whole piece from start to finish before we start practicing, or…[fill in the blank]. But often we just need to commit to doing one thing better.

I must admit: my summer was not filled with much practice time at all! Instead, I spent time with my three teenaged daughters, taught piano lessons, worked on some product development, and spent time evaluating and honing systems in my music studio. So when I returned to the piano last week, I had some decisions to make! What music do I want to study this season? What performance goal am I working towards? Which piece will I work on first?

I picked up some music that has been lying dormant for a few months and returned to it: Liszt's Jeux D'eau, Debussy's Sunken Cathedral, various Chopin pieces, a Bach suite, a new piece by Heino Kaski… And as I've been reading through, I've started noting what needs work! Some music needs harmonic analysis, others need slow work and decision-making about fingerings; another piece needs to be committed to memory because there are too many awkward jumps; still another piece needs technical work. 

I pulled out my practice journal again and wrote down what pieces I'm working on this year, and then made a short list of what I need to do next. I love doing this because it gives me a focus. The next time I return to the piano, I'll know exactly what to start on. Whether I have ten minutes or an hour, I will be able to grab a piece, start working, and accomplish something because I've made a note of what specifically needs work.

Whether you are working on music for your personal growth, a performance, or just to keep up with your students, try keeping track in a notebook or on a piece of paper what you accomplish each day and what you want to work on next. Be specific. Write in measure numbers. Tell yourself what needs work. Be your own teacher. 

Little gains add up to big wins. Do one thing better today!

For more thoughts on practicing, see:

Using a Practice Journal for More Effective Practicing

Always Be Prepared: Three Songs at the Ready

Practicing in Sections

Backwards Practice

How I Memorize a Piece of Music

How to Prepare for Accompanying an Instrumental Sonata (or Concerto) Quickly

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“…he really enjoyed the lead sheets at Christmas time. I also appreciate your positivity and the excellent piece curation you do.” - Piano parent

Choosing music for our piano students can sometimes be a difficult task! The variety of method books available to piano teachers gives us no lack of options, but if we are not devoted to one method or another (or we realize a student needs something more/different), finding just the right music that suits the interests and abilities of our students can feel daunting.

I have by no means perfected the process, but thought I would give you a glimpse of what I am using this year in my studio:

For beginners (ages 5-8) - Faber Piano Adventures or Alfred Premier. These methods are pretty similar, starting the student on black keys with off-staff notation before introducing landmark notes and the grand staff. I like them because I have been using them for years, the pages aren't too cluttered, and the directions are simple enough for non-musical parents to understand and assist their children with at home. I use the Lesson book, Theory book, and Performance book in each method for the first two years. I also use the Faber supplemental books for Christmas and summer (Jazz/Blues, Rock and Roll, Disney). In year three, I add a Faber Piano Literature book as we begin to transition into “real” literature.

For beginners (pre-teen/teen) - Supersonics, Wunderkeys Pop Staff Piano, or Alfred Older Beginner. This age group generally needs easy wins and music that sounds appealing right away. They are motivated by cool-sounding or familiar music, but still need to build proper technique and reading skills. I like Supersonics and Wunderkeys Pop Staff Piano for the “cool” factor and steady progression of skills. The Alfred method is solid, but in my opinion less appealing for modern kids as the songs tend to be folk songs. (Alfred, we need an update!) For theory, I am trying out Mark Sarnecki's Elementary Music Theory books this year. I love the clean layout of the pages and the fact that he incorporates music history into the lessons. I also love Worship at the Keys by Donna Gielow McFarland for this age. A lot of my students come wanting to learn how to play in a worship band at church, and Donna's book is a wonderful introduction to reading chord charts and lead sheets; she incorporates a number of modern songs!

For early intermediate - RCM (Royal Conservatory of Music) Etudes books, Faber Piano Literature books, Mark Sarnecki's Essential Music Theory books, Diversions 1 and 2 by Juan Cabeza, various supplemental literature. My “core” for my early intermediates is an Etude book, a Piano Literature book, and a Theory book. We also follow the RCM technique charts for learning scales and chords. I add to that depending on the students' interests and skills that need addressing. For instance, I have one student who is fabulous at rhythms and loves Celtic music. He is working through the Diversions books (each piece a “quick win” and a chance to analyze patterns and work on transposing on sight), a Celtic book, and a fun Mario book. Another pair of students works very slowly through their core books (practicing isn't consistent), so we don't do much beyond that other than adding Christmas music in Nov/Dec. Another student loves Classical music and we've been supplementing with some of Frank Lynes' sonatinas and other music found on IMSLP.org. 

The older intermediate and advanced students that I have taught generally have been transfer students and have come with repertoire they want to work on. Often it is above their reading level, and I supplement with easier pieces and scales and chords work to improve their sightreading and technique.

It is important for students who are intermediate level to have music at their reading level (learn in 1 day), a little above their reading level (learn in 1 week), and then a stretch goal (learn in a month+). They need to be able to play music for pleasure (those quick wins!) as well as be challenged to practice to achieve a long-range goal. And if we can find music that accomplishes both things and that the student enjoys working on, we can spend more of our time enjoying the teaching and learning process and less time coaxing students to practice things that are uninteresting or too difficult for them to see much short-term progress.

How do you choose music in your studio? Do you have methods/publishers/composers that you find yourself turning to again and again? Let me know in the comments!

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Part of my studio prep for fall is assembling Piano Binders for my new students and updating the binders of returning students. I grew up with a binder as a student myself, and in my studio I have tweaked the process a little to fit my teaching style. 

As part of their tuition, my piano students receive books and materials that I purchase for their lessons, including these binders. I use a 1-inch white, 3-ring binder with plastic cover so I can customize the cover. Here's what goes inside:

Piano-opoly - My simple practice incentive game board slides into the plastic pocket on the outside of the binder and students can see at a glance how close they are to earning a prize!

Zippered pouch - I like these from Amazon, with a see-through mesh pocket and two zippered compartments. We use these for flashcards and small game pieces that I send home for practice.

Piano Practice Tracker - This is the student's assignment sheet. I designed it myself (there are several color variations, and you can get it for free in my shop!). If you print it double-sided and upside-down, you can punch it to put in the binder, and then use the back of it without re-punching the sheet by just flipping it over! Each week during the student's lesson, I fill out their practice plan, and it is their job to check the sheet each day to see what they are to work on, and put an “X” or write in the time on each day that they've practiced.

Studio Calendar - This goes in a plastic page protector and includes all the dates for lessons and breaks during the year.

Studio Policy - No excuses! I put this in a plastic page protector as well. It includes lesson information, practice tips, tuition and payment info, and my missed lesson policy. Parents receive an updated version via email at the beginning of each school year as well.

Syllabus - This is either a skills checklist based on beginning method books for my young students, or the RCM levelled checklists that you can find for free in my shop.

Technique - Printed scale and arpeggio charts with fingerings.

Music - Any sheet music that I give out during the school year goes here.

Composition - Student compositions that are assigned during the year during our group lessons (using materials from my Composer Kits) or private lessons.

Scales/Chords/Key Signatures - These are 3 separate tabs, but are meant to hold papers detailing how major and minor scales, chords, and key signatures are put together.

Music History - Students collect composer biographies (from my Composer Kits) and they live here.

The Piano Binders serve as a growing library of musical information for students as well as a place to house their assignments. The binders grow with the students and are a physical reminder of the hard work they put into practicing and music study, forming a portfolio of sorts that celebrates their achievements!

Do you use binders in your studio? I'd love to hear what you do with yours! Tell me in the comments!

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If you play for a choir, chances are you have been asked to play “open score” in rehearsal. If you are unfamiliar with the term, “open score” refers to the way the music is laid out for a choir: each voice part (soprano, alto, tenor, bass) has its own line of music written on the treble or bass staff.

Why is Reading SATB Open Score So Difficult?

Pianists struggle with reading open score because they are used to reading only two clefs - treble and bass – joined together. In general, the right hand plays the treble clef notes and the left hand plays the bass clef notes. However, when faced with four lines on different staves, the pianist is forced to make choices about which hand plays what.

Additionally, the choral pianist must quickly scan the separate voice parts and decide immediately how to cluster notes together, so that he or she can play as many of each voice parts' notes as possible. Often, it is physically impossible to take all of the notes from all of the voice parts and play them all at the same time.

How Can I Make Sense of Reading SATB Open Score Vocal Parts?

Prioritizing what to play and what to leave out is an essential skill for a choral accompanist, one which is often learned during rehearsal in front of 20-100 people. Talk about a high-stress situation! Usually, the pianist’s response is to go home and try to practice all four parts at the piano, away from prying eyes, and hope for better results next time. However, this really isn’t the best use of time. It would be better for the choral pianist to learn how to prioritize what the choir needs most, mark the score accordingly, and practice that. After all, the voice parts are often only 50% of what the accompanist needs to practice; if there is a piano accompaniment, this also needs to be learned and polished!

What Tools Can Help Me Learn How to Read SATB Open Score?

There are very few resources available online, at least at this writing, for the choral accompanist to learn the skill of open score reading. This is why I have put together a growing collection of tools, a few of which are mentioned below:

A CHORAL ACCOMPANIST'S GUIDE TO OPEN SCORE READING

This free guide will take you step-by-step through identifying harmonies and practicing the different voice parts in a chorale from Bach's St. Matthew's Passion. 

THE WELL-TEMPERED CHORALE PLAYER

This guide takes you a step further with practice in all the major and minor keys in which Bach wrote his chorales. 

HOW TO READ OPEN SCORE WORKSHOP

This 40-minute workshop is available on-demand and is accompanied by a 37-page workbook with practical guides and charts to help equip the choral accompanist with the strategies needed to successfully navigate choral music in open score. 

During the workshop, I discuss a progression of strategies that you can try to help you quickly scan a score, decide what is important to prioritize, and mark your score to assist your playing. We work with several choral scores in real time so that you know exactly how to mark your score. The workbook includes an appendix with additional music that you can practice after the class. 

JOIN THE CHORAL ACCOMPANISTS GROUP

There is a new community of choral accompanists forming online where you can find support and encouragement, share your progress, and celebrate your success! Come on over, introduce yourself, and share your stories and questions!

I have plans to expand the resources available to choral accompanists, so keep checking back in! There are several ways to keep in touch: sign up for my monthly newsletter, subscribe to my blog, and bookmark the webpage coribelle.com/choral-piano.

I hope this encourages you in your choral accompanying journey and provides you with some resources to further your skillset and help you bring out the best in your choir.

Happy music-making!

P.S. Do you know an accompanist who would benefit from these resources? Please share this post with them!

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Want to feel more confident reading open score this fall?

If you took my How to Read Open Score workshop, you learned practical strategies to simplify the process. But if your workbook’s been gathering dust—you're not alone!

This July, I’m hosting a 4-Day Open Score Challenge just for choral accompanists.

We’ll spend 15–20 minutes a day working through the appendix exercises from the workshop workbook. You'll get:

• Daily accountability and guided practice
• Space for Q&A and community sharing
• Encouragement to help you follow through

By the end, you’ll know how to make smart, musical choices at the keyboard—and feel great doing it.

Whether you're picking up where you left off or starting fresh, this is your summer confidence boost.

🎼 For Workshop Alumni

Already joined the workshop? Pick up where you left off and bring your workbook to life—join the Challenge for just $9!

🎶 For Newcomers

New to Open Score reading? Grab the Workshop + Challenge Bundle for just $35 and get everything you need to read with confidence this fall!

Learn more and sign up HERE!

After attending my How to Read Open Score workshop (still available!) and practicing the exercises in the accompanying Student Workbook, you might want more exercises in SATB open score reading. Here are some that I recommend:

Brahms Liebeslieder - These are wonderful dances. I have them scored for SATB and piano duet accompaniment! Some go quite fast, but you don't have to practice them fast. Often you just have two voices moving at a time. When SATB all sing, it's usually homophonic, forming chords. It would be a good next step after my workshop for continuing your practice with some of the things we talked about. 

Schubert Magnificat - This is also quite accessible. It is a 3-movement work. A good one for marking unisons and making choices as to which 2-3 voices to prioritize out of the 4 on a first reading. There is a little bit of practice here for prioritizing vocal entrances as well. 

Haydn Creation - We worked from "Awake the Harp" in our workshop. There are a number of solo movements in this piece. I would suggest looking at #13 "The heavens are telling the glory of God" and #26 and #28 which are two settings of "Achieved is the glorious work." All three of these movements are for chorus only, set in SATB, and which will require you to make decisions about what you want to play. 

Haydn Nelson Mass - This is a multi-movement work for soloists and chorus that combines all the elements from above - marking unisons and parts, homophonic movement, deciding which 2-3 parts to prioritize, some individual vocal entrances but not too crazy. 

These are all good starting places, if you're not quite ready to dive into more complex work like the Bach fugues! 

Want more resources? Check the Choral Piano page or join our new Choral Accompanists facebook group! 

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Even though my oldest daughter is old enough to drive, I still drive my girls to school every day. We live in a typical suburban neighborhood with increasing density issues, traffic lights, and impatient drivers. But every morning we look up and are drawn to the ever-changing beauty of the sky. Funny I should say that, as we live in Seattle, an area famous for its blankets of clouds and monotonous gray skies. This year, though, seems less gray than normal, and the skies are full of change: soft pastel pinks give way to bright blue skies, billowing brilliant white clouds are accompanied by dazzling sunny skies. My girls and I are continually struck by the variety of skies we see. No two are ever the same.

I have been re-learning the Bach Toccata in C minor lately. It begins with an exposition of a theme, a dramatic introduction with repeating motives and fast running notes, then it steps back for a page into a meditative Adagio, stretching out long melodic lines that build and release. Finally, we are brought to the multi-page fugue in which the fugue subject appears 17 times! Bach’s sky painting. 

That is all I have been thinking of lately, as I practice the fugue: it is like the sky. Bach is using the same subject over and over, but in fascinatingly different ways, and as the piece goes on it becomes more complex and riskier and terribly exciting to play! Of course, this is not the only piece in which Bach develops a theme a million different ways, passing it between voices and weaving it in and out in various ways, even contorting it so that sometimes it ends differently or changes tonality or even shows up in a backwards form. But because I am studying this piece currently, I see the resemblance to the morning skies in every new iteration of the subject. 

The way of an artist is mysterious and compelling; it draws us into another realm, causing us to stop and think, to meditate on beauty and soak in it. It can also induce in us an attitude or posture of worship. I think this is intentional. The God who created the world and made the breathtakingly beautiful sunrises is the same God who created Bach and gave him the inspiration for his wonderfully full and complex musical output, and He is the same God who made us to play and sing and create as He so wonderfully does over and over every morning.

Artistry matters because our creator God is artistic and has made us to reflect His artistry in what we do at our instrument. If we produce shoddy work, it is a poor representation of Him and a weak stewardship of the gifts He has given us to create. If we produce excellent work (I’m not saying perfection is required here), we reflect His excellence; if we produce glorious work, as Bach has done, we reflect His glory. The creation and the re-creation is an act of worship.

More of my thoughts on practicing this Toccata. Come hear it LIVE at my April 3rd concert!

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Isn’t that a Boy Scout motto? It is also good advice for pianists!

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? 

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.

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!

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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.

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^th of the month; the festival was on the 20^th. 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.

Here’s how I approached tackling the pieces:

1. Listen to a recording with the score. 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.
2. Play through the pieces. Do what you can to get from the beginning to end in one fell swoop.
3. Triage. 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.
4. Read again, under tempo. Can you get through at a moderate tempo without errors? If not, triage again. If it feels good, move on.
5. Learn the instrumentalist’s part. 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 must 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.
6. Play with a recording. 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?
7. Listen to as many different recordings as you can find, as many times as you can. 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.
8. Take notes and record your rehearsal with the instrumentalist. 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.” 

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. 

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.

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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:

1. It is impossible to read ALL of the notes. 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. Secret: Good sight-readers don’t actually read all of the notes all of the time.
2. Open score reading is not an Olympic event (but maybe it should be?). 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 not 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. Secret: It is okay to leave out notes.
3. Prioritize entrances. 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 every entrance in every voice part in your music and make it a priority to play them – even if you leave every other note out. Secret: When you prioritize entrances, you set the singers up for success!
4. Cheat #1: You can approximate harmonies. 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. Secret: In reality, good readers are often only reading three parts and letting their knowledge of harmonies and scanning abilities “fill in” the fourth.
5. Cheat #2: Mark your score. 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. 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.

It is 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. 

Join my online workshop on How to Read Open Score 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.

For more practice with open score reading, you can purchase my collection of Bach chorales in a variety of keys, working through the Circle of Fifths from easiest to hardest, ending with a familiar bonus chorale!

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! Message me, and let's chat!

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If you want to improve your sightreading as a pianist, I often recommend Bach. The 2-part Inventions and the Preludes and Fugues from the Well-Tempered Clavier are great material for the mental (and physical!) gymnastics of sightreading independent voices.

If you regularly play for a choir, you may also be interested in improving your 4-part sightreading skills. Again, I recommend turning to Bach for some practice! Johann Sebastian Bach wrote numerous chorales as part of his cantatas, and they are an appropriate place to start if you want to work on reading SATB parts in differing combinations. For one thing, the chorales are hymn-like in their structure, and the parts usually move at the same time. This makes it easier to scan the notes to see if they make up recognizable chords. (A good bit of sightreading is intelligently predicting what comes next, and when we can predict with our ear where the harmonies are going, there is a good chance that our fingers will find their way, too!) The chorales are short, just one or two pages, which affords you time to look at the same piece through different voices, or different combinations of voices. And there are so many of them, that they give us plenty of material which with to work!

I have put together a free resource for improving your 4-part sightreading by looking at a chorale from Bach's St. Matthew's Passion that will take you step-by-step through identifying harmonies and practicing the different voice parts. Take a look at it and let me know what you think in the comments below!

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It can be so easy in lessons to teach and review concepts, that we forget to teach students how to practice. And yet, practicing is where the student will spend most of his or her time working out what we have taught him in the first place! One way we can assist our students in effective practice is by assigning sections of a piece to work on. Often, student repertoire will contain some return of the theme – sometimes even a full repeat of the introductory material – so if we can break down the form of the piece into a few short sections, practice feels much more manageable.

When you are introducing a piece to a student, whether you play it for them or not, take a minute to look at the music together. What is the opening statement? Does it come back again? When it comes back, is it exactly the same or a little bit different? If different, what is different? Where does the next statement begin? You can label sections A, B, C, D, or even A, A1 (for a variation on A) to show more clearly what is happening. This bit of analysis can help the student to think about how the composer develops the theme, and makes sight reading easier! It can also help with practice, as then you can assign the student to work only section A until mastery, and then move on to section B. 

Rather than assigning the whole piece to be played the following week, the student is assigned sections to master – which will be more pleasant for both you and the student when you return to the next lesson! This is also a way to help students manage their time. If you assign 3 pieces for the week, you can decide how many sections of each should be brought to mastery. (It is a much better way than hoping the student will practice and that something will have been accomplished by next time!)

Practicing in sections is a great strategy for getting a lot done in a short period of time. Short, focused sessions of practice are much more effective than long, unfocused sessions aimed at filling a certain number of minutes. 

This way of practicing has benefitted me as a mom, having limited time to practice and needing to make the few minutes at the piano “count”! It is also wonderful for memory, as the brain benefits from a period of rest before returning to the material. You can alternate sections, or even pieces, for variety, and come back to the same sections and see progress quickly because the brain has been able to synthesize the information in the “break” time. 

Teaching students to practice in this manner helps them to focus their practice when they are at home and gives them a way to see progress quickly, providing a motivational feedback loop of “feeling good” about what they are doing at the piano. When they return to lessons, they will feel confident that they have accomplished something during the week, and will be eager to demonstrate what they have learned!

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One of the strategies I use with my intermediate students is “backwards practice.” It is easy to be excited about learning a new piece, and to work really hard on the first page. But after a few weeks of practice, looking at that second or third page can start to seem daunting, and it’s just more fun to play through the familiar bits than to slow down and tackle the rest of the piece! 

Enter “backwards practice”: I introduce this concept in the lesson, teaching the last few measures to the student and working through them until they are fluid. Then I challenge the student to go home and add a measure before the last few measures, and then a measure before that, and so on, until the ending is fluid. When they finally back up to the “easy” first page, they will know the whole piece! It is so gratifying to play a really solid ending: it becomes the reward for a job well done!

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Memory is always the most laborious task for me, and I tend to procrastinate in favor of playing and enjoying the music! But truthfully, if I do not take the time to memorize, I do not learn the music as well or as deeply as I could. Below are the steps I generally take to memorize, and then a link to a short video showing it in action:

1. Learn the notes and be able to physically play with ease (for me, this is the most fun part, and usually the fastest). Expression comes as I study at the piano, listen to recordings, and make decisions along the way.
2. Memorize the melody (usually in my RH)
3. Consider the tonalities/chords/key, mark my music with the letter names, and talk through the changes
4. Pick up contrasting voices and figure out how they fit
5. Really think about how the voices are moving – where do they move by step, chromatically, or by interval? Adjust fingering as necessary and keep it consistent.
6. Test my memory by playing away from the score
7. How did I do? Correct mistakes
8. Play something completely different: another section or a completely different piece. Come back. Have I retained what I memorized? If not, find out why and fix it.

Between each step, I play the section to test my memory. By #6, I really should have it, but if my focus is not there, I have to slow down, refocus, talk through what is happening in the music (aloud!), and try again. I work on this section by section, constantly moving forward and then back to review what has previously been memorized, back and forth, until the piece is completely memorized. At that point, I start testing my memory by thinking the piece away from the keyboard on my walks, when I’m driving, and when I go to sleep. Another good test is to “ghost” hands by playing one hand while thinking the other as it hovers over the keys without playing. Finally, if I can write it out (I seldom do this, but it can really help when a theme comes back in various iterations!), I feel like I really know it. 

Here is a brief video of what this looks like in practice.

None of this guarantees a mistake-free performance, but the mental work is beneficial for both secure physical movements and expression, even if I decide finally to perform it with music. 

Does memorizing come easily for you? Maybe the physicality and hard work of learning the piece is enough to solidify the notes for you. I would still encourage the mental exercises of identifying chord names and key changes, isolating voices, and planning consistent fingering to strengthen your understanding of the music and engage with it more fully!

For children, memory seems to come much more easily! However (or maybe more importantly, because of this very thing…), it is up to us as teachers to draw attention to major and minor tonalities and relationships, independent voices, efficient movement of fingers and hands, and directives in the score for dynamic and tempo changes. Then we can guide them in interpretation by asking questions about why the composer might have made these choices, or encouraging students to experiment with different articulations, dynamics, rubato, and pedaling in order to convey a mood or idea. Don’t settle for students who want to play fast and “get through” a piece; slow them down and encourage them to reflect by asking questions about why a composer might have made certain choices. 

As contrary as it seems, slowing down is the fastest way to play quickly, and it gives us great freedom in movement and expression. We just need to remind ourselves to do it!

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There are a couple of things that really help me achieve noticeable progress at the piano: getting to the piano consistently for ten minutes a day and keeping a practice journal.

Ten minutes is not a lot of time, but it is an easy way “in.” I can always make time for ten minutes at the piano, and if I get there for ten, inevitably it turns into more!

A practice journal can help me get focused right away, especially if I have a limited amount of time to practice. I use a practice journal in three ways:

1. Write down what I accomplish in each piece as well as where to start the next time I sit down at the keyboard.
2. Track big picture goals, like pieces for a recital.
3. Analyze parts of pieces to aid in memory, noting themes and when they recur with slight variations.

Take a look at the inside of my journal here:

Do you use a Practice Journal? Tell me how you use it to focus your practice!

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Today I finished re-memorizing Bach’s Toccata in C Minor, BWV 911. I say re-memorizing, because I memorized it 6 years ago for a house concert. And then I moved on to learn and memorize other music and I forgot the piece. Well, I didn’t forget it entirely. My fingers remembered what to do when I pulled out the score, and it came more easily to me physically than it had when I first learned it. But remembering the piece away from the score took a grand amount of effort. And I asked myself, “Why am I putting forth the effort to memorize this piece again?!” 

I know Clara Schumann and Franz Liszt were at least partially responsible for starting the tradition of performing a piece from memory. Before them, it was considered an insult to the composer to play from memory, as if you were trying to “pass off” a piece as your own composition. Unfortunately for me, I was born post-Liszt/Schumann and the acceptable form of performing a solo classical piano piece in public today is to play it from memory. 

So why do I groan at this now time-honored tradition? Because this toccata has 17 statements of the theme! The beginning prelude is not so hard, but the fugue contains a theme that passes between soprano, alto, tenor, and bass voices which is at times played in its entirety by one hand but at other times divides between the hands which are also playing harmonic additions and/or counter melodies. It is enough to drive one mad. And if it were socially acceptable I would be tempted to play it with the music. 

It is not coincidence that at the same time I am wrestling with memorizing this piece I am reading a book by theologian J.P. Moreland called Love Your God With All Your Mind. The premise of the book is that Christians need to employ their rational, reasoning mind in the acting out of their faith, rather than just relying on feeling. Christianity is a reasonable faith with historical and scientific evidence to support it; however, we too often fall back on experiential knowledge instead of doing the hard work of study and reflection in order to “work out our faith with fear and trembling” and to share it with nonbelievers. 

Using one’s mind takes work – intense, focused concentration; sometimes in silence, often requiring reflection. This is in stark contrast to our technology driven world, where we need wait for almost nothing and can obtain information at the click of a button (or upon giving a voice command to Alexa or Siri). Discipline is required for thinking. This same effort and discipline is employed in memorizing a piece of music, particularly one written by Bach. And guess what? At the end of every composition, Bach wrote “For the glory of God.” Many of his pieces were teaching pieces, meant for study by his students. And they were intended to engage the mind. Why? Ultimately, for the glory of God. 

I think these concepts are connected: the idea that using our minds takes work and discipline, and that the effort of using our minds in the study (and memorization) of music brings glory to God. Anyone that has studied Bach’s work knows the genius that was behind it. The mathematical symmetry in his music is not there for its own sake but creates in the music a wonderful sound that is not only beautiful but also makes sense – like a poem that begins in one place and meanders around with connecting and contrasting ideas, only to come back in full circle to the initial idea that is restated in a completely different manner. It is beautiful, and it is beautiful precisely because it is hard and takes effort in order to understand. 

So while I don’t completely understand why it is so important for me to memorize Bach, of all composers (Chopin is so much easier!), I do know there is something to the process of engaging my mind in this exercise of memory that is bringing glory to God. In some small way it is a picture of Him in His infinite wisdom and beauty and perfection. And even if I don’t recreate this masterpiece perfectly, the effort made in engaging my mind is in itself a way that I can worship and bring glory to my Creator God. Soli Deo Gloria.

I am still in search of that elusive “it” that sets the professional pianist apart from the amateur. This is something I’ve been mulling over for the better part of the last year. I am more and more convinced that it has much to do with intention. 

The amateur performer relies to some degree on chance. She knows that preparation is important and spends many hours practicing, but there is always an element of unknowing – Will my hands make that leap accurately? Will I express at the keyboard exactly what is in my heart? Will I remember the notes in that difficult section? Will I start the piece too fast and watch it fall apart? Conversely, it seems that the professional approaches practice sessions quite differently. Instead of hoping things will turn out well 4 out of 5 times, she plans for things to turn out well. There is intentionality in the practice: If a phrase is not executed perfectly in practice, she will work on it, either through much repetition or through thoughtful problem-solving, or a combination of the two, until it can be executed perfectly every time. This takes an incredible amount of patience, focus, and discipline. 

I am continuing to work on the repertoire from my recent CD release. (Music is never really “done;” there is always something an artist can improve on.) As late as this morning, I found that I had been practicing some wrong notes (horrors!). 

The first song of my Ginastera set, the Creole Dances Opus 15, is slow and beautiful and wretchedly exposed. I question every phrase, every nuance, and every color of every note. The piece is a dance and should have a dance-like, lilting quality to it. But I don’t want it to be taken too literally - there should be some vague dreamy qualities as well. It is marked pianissimo, so it should be played quietly, but I also want it to sing. There are so many contradictions within the 90-second dance. Every decision is important. Everything “counts” because it is so exposed. As I play, I think I am over-analyzing, and I throw everything out the window and just play as beautifully as I can. But then, did I let loose too much? Some notes stick out at the expense of others, and other notes don’t sing as they should. The beginning of one phrase was taken too fast, and there should be more breathing room before going on to the next phrase. I play back the recording I made on my iPhone; it sounded better when I was playing it live! The recording forces me to listen objectively, away from the piano, and to consider what worked and what didn’t. I return to the piano to work more deliberately, slowly, and with greater intention.

I had the most amazing piano lesson this month with Pawel Checinski, the teacher of one of my pianist friends. We met formally for an hour, and as often happens with a master teacher, I was given enough material to work on for the next few months! 

I had not had a piano lesson since my years as an undergrad, so I was a little hesitant going in. My inner critic is enough of a challenge as it is, and a lesson felt quite intimidating at first. However, I was met with the most encouraging and constructive feedback - not “soft” by any means, but specific and delivered with absolute respect. (Incidentally, I witnessed this as an observer the weekend prior as I watched Checinski work with high school students in a masterclass. At no time was he condescending or impatient, but he continually gave students tools to develop their musicality.) 

I learned so much as we worked on the Chopin Fantaisie Impromptu and the Rachmaninoff Prelude in G-sharp minor that if I shared it all here, you would grow weary of reading. I will try to be brief and share a few highlights: 

1. When trying to figure out what you want musically, isolate the melody. Play the melody by itself (no accompaniment or harmonies) and shape it. Breathe where a singer would breathe. Sing the line; draw the line in the air; find the arc. Then add the other notes and accompaniment back in, trying to keep the same shape of the melodic line. (In my pieces, the melody sometimes happens in the left hand on top of chords, so isolating the melody means taking it off the chords for a minute.) 

2. Rachmaninoff’s sound comes in waves. Dynamics must have big contrasts. Decrescendos should come down at the same rate as crescendos go up. Don’t go soft right before peaks; carry through the whole crescendo to the top and complete the phrase. 

3. When rolling bass chords, keep the bass note in the pedal. This may mean pedaling earlier or rolling the chord faster. Be a magician – trick the listener with a slight of hand, a quick pedal right after you touch the note, so that the bass will be heard. 

We also worked a bit on dropping arm weight into the key and resting. I tend to press into the note and then keep working, as if sound would continue to come after the hammer strikes the string. 

Pawel is a great storyteller. In addition to the musical coaching, I was treated to quite a few stories including one where Rachmaninoff hated the C-sharp Minor Prelude so much that he referred to it as “It.” Sometimes he would play the first three descending chords and then go into the Chopin Fantaisie-Impromptu just to spite the crowds; other times he would tell an audience he had forgotten it! 

In the weeks following my lesson I have tried to apply what I learned to my playing. I still have a lot of growing to do, but I am so grateful for the time I spent with Pawel and the musical wisdom he passed on to me. I’ve recorded an “after” session of me working at the piano on the Rachmaninoff. If you are not yet tired of hearing me work on it, maybe you can glean a few tidbits from my work with Pawel for yourself!

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Trying to make good on my goal to have three (or more) pieces "at hand," I have been working on Rachmaninoff's Prelude in G-sharp minor (Op. 32, No. 12) this week. I played a little of it for a friend who came over Friday evening and asked me, "What can you play?" (He'd been reading my blog!)

Alongside practicing, I have started a Page on Facebook as well as a YouTube channel so you can follow along with my progress. Below is a peek at part of today's practice session: