Beginner Students

Typically we start by learning notes in treble clef and the basic rhythms, followed by the study of the bass clef. Students play simple duets (with myself) almost immediately since this provides a good introduction to musicianship, future ensemble work, and it is fun. The main elementary classes of technical problems are introduced progressively, together with the major and minor scales in one octave, arpeggios, learning the basic intervals. As soon as possible, even with very simple exercises, we spend time explaining how a piece is put together by the composer (because this help practising intelligently and economically) and we focus on the musical aspects of interpretation of the piece under consideration.

Intermediate and Advanced Students

From the moment students start to play real repertoir they enter the intermediate stage: they are supposed to be able to read somewhat fluently the piano staff (bass and treble cleves), notes notation, rhythms, know scales and key signatures. The students now play pieces from the repertorie starting from the 16th century to this day. We now strive to address all aspects of learning a piece of music: musical interpretation, technique, analysis, aspects of style, together with more enphasis toward sight reading and improvisation

Repertorie draws from composers such as:

G Frescobaldi, J Pachebel, H Percell, F Couperin, J S Bach, G F Handel, D Scarlatti, C P E Bach

J Haydn, D Cimarosa, M Clementi, W A Mozart, J N Hummel, F Kuhlau, C Czerny, L v Beethoven

R Schumann, F Shubert, M Glinka, F Liszt, F Mendelssohn, F Chopin, S Hellet, C Gurlitt, C Frank, C Saint-Saens, P I Tschaikowsky, J Brahms

E Satie, E Grieg, M Mussogski, M Reger, C Debussy, H Reinhold, C Nielsen, J Sibelious, B Bartok, A Khatschaturian, D Kabalewski, W Lytoslawski, S Prokofiev, D Shostachovik, A Part

Musical Interpretation

This includes, but is not limited to, learning about different articulations, dynamics, tempo fluctuations and tempo rubato, pedaling. Put together these components constitute the "interpretation" of a piece. The student is encouraged to try very different, even conflicting, intepretations. The aim here is to develop a musician: somebody that can make notes speak different stories and emotional states, and create different musical images at will. One can make the case, paraphrasing Heinrich Neuhaus, that everything, for a musician, is subordinate to the mastering of the creation of a musical image.

Aspects of style, as they change throughout the centuries, are also addressed, since it is important to be aware of interpretation conventions expected for a piece written in the late Renaissance versus, for example, the early 20th century.

Technique

Many technical issues are addressed with reference to the piece at hand, but we do work on technique as a separate activity. We consider physical posture, of the body, arms and hands, preparatory and relaxation exercises away from the keyboard, as well as general keyboard skills using technical studies and etudes, and musical excerpts. Technical studies are almost always combined with musical interpretation elements.

Analysis

Analysis simply teaches a student how the music they play is organized. It is very important. Sometimes I compare analysis to language grammar: one would not attempt to learn a play or a poem without having learned grammar! We discuss analysis issues from the beginner level, peraphs just to notice that a pattern of four measures is repeated twice in a piece. Progressively analysis of the piece extends to understand its different components, key relationships, different forms. These concepts are presented in connection with the pieces the student is studying. In this way, students learn the relevance of analysis to issues of interpretation, expression, and memorization.

Sightreading.

The aim here is to play music one has never seen with a fluency which allows to makes sense out of the piece. Sight reading is useful to learn new piecs, to explore piano repertoire, as well as chamber music, songs. It is also a good skill to have for accompanying small chorus, professionally or otherwise.

Improvisation.

Unfortunately improvisation pretty much disappeared from the teaching of classical music in the last century. This is a pity since traditionally musicians were supposed to learn how to improvise (many great composers were also accomplished improvisers). Quite modestly I strive to teach some elements of improvisation. For example being able to improvise small passages, in which a particular interpretation or technical issue is isolated. Or, at a more advanced stage, improvise small variations on a simple theme.

Materials.

At each lesson, in addition to music books, you will need to bring:

A notebook (to keep track of assignments)

A loose-leaf binder (in which you should place all photocopied materials)

Music manuscript (staff) paper

You will occasionally have to bring a blank CD (can be kept in the loose-leaf binder) on which we will place demonstrations and recordings of your performances. For reccomanded books and anthologies, please see the Music Books page.