ComposeCreate.com » Composer Interveiws

Teaching Piano in Groups (Author Interview)

Wendy — Tue, 06 Apr 2010 13:00:49 +0000

Christopher Fisher, Assistant Professor of Piano at Ohio University), has just written a new book called Teaching Piano in Groups. This book is a one-stop compendium of information related to all aspects of group piano teaching. I am sure it will become required reading for piano pedagogy students across the country. In addition, this book looks like it should be on the reading list of every independent music teacher.

I knew Chris in college and was impressed by his diligence, commitment to excellence, and kindness to those around him. I am certain that his book is a well researched and extremely well written resource for group teaching. Chris has graciously agreed to do an online interview with me for this blog.

Tell us about your inspiration to write this book.
During my undergraduate and graduate studies, I became enamored by the transformative power of the group piano learning environment. It was during this time that I started teaching piano in a variety of group formats, and began witnessing astonishing growth and development in my student’s overall level of pianistic achievement. As a result of these experiences, I have taught in some form of group ever since and have become a passionate advocate for group piano teaching.

As they saying goes, “Two heads are better than one.” I believe strongly in the potential of group learning environments and I acknowledge that many others share this conviction. Still I realize there are those who have never given group teaching a chance. Because of this, I set out to write a guidebook for the novice piano teacher with the hope of inspiring interest in the instructional format while creating a reference resource for the experienced teacher. Furthermore, as a university pedagogy professor, I was motivated by the fact that there existed no text that was explicitly devoted to group piano pedagogy. Teaching Piano in Groups was designed to fill this void.

What kind of book is this?
Initially, I set out to write a comprehensive narrative on all aspect of group piano teaching. While admittedly I’ve found such an attempt to be futile, I have made a concerted effort to cover the most salient features of group piano teaching and the intricacies involved in teaching children and adolescents, university music majors and adult hobby students.

Who might find this book helpful?
It is my hope that all piano teachers will find the book helpful in some manner, from the novice pedagogy student to the veteran group piano teacher. I trust the book will serve as both a handbook and reference resource, and will inspire renewed interest in and thoughtful dialogue regarding teaching piano in groups.

What is your favorite part or topic in the book?
Since I’ve been deeply invested in this project for the last three and a half years, I must confess that it is quite a challenge to identify a favorite part or topic. With that said, I have a great interest in the application of cooperative learning theory to group piano teaching and continue to dedicate a significant amount of time to research in this realm I am also a connossieur and collector of effective group instructional strategies and activities, so it was a particular thrill to present a few of my favorite in this book.

Are there any misconceptions about group teaching that you would like to address?
There remain teachers who regard group piano teaching as an inferior mode of instruction and, who as a result of this opinion, categorically avoid teaching in groups. As one who is wholly convinced of the potential of the group piano learning environment and its manifold benefits, I feel committed to demonstrating how group teaching, when conducted properly, can both positively and profoundly transform student learning experiences.

Piano teachers often cite the disparity of student levels in groups as a primary concern. I see this as an enormous advantage rather than an insurmountable hindrance. Because of this dynamic environment involving students with unique abilities and individual differences, students stand to learn something from one another and can contribute something meaningful to the group. Further, the potential for groups to motivate students to higher levels of achievement is an undeniable benefit. Indeed, the efficacy of group piano teaching is proven and the list of its merits is expansive. It is my hope that all piano teachers will experiment with group teaching in some fashion if they have not already. And if they have in the past and have failed, I encourage them to try again and to seriously consider ways to enhance the effectiveness of their approach. As is the case with any venture, anything worth doing is worth the effort necessary to carry it out with success. To be sure, group piano teaching is an investment that has the potential to pay huge dividends.

What is your favorite part of teaching in groups?
I am always invigorated by the dynamic exchange of information and knowledge among students in the group piano learning environment. It is thrilling to witness students being actively involved in their own and each other’s learning. This sense of ownership and accountability propels students to higher levels of learning and skill refinement. And beyond this, teaching in groups is simply great fun!

Chris’s book may be purchased from Amazon or Oxford University Press.

Carol Klose Showcased

Wendy — Fri, 12 Mar 2010 14:38:04 +0000

Hal Leonard is now showcasing composers in the new email Hal Leonard Mainstage Newsletter. In this first issue, Carol Klose talks of watching Liberace as a child and and how she crafts music to connect with her audience.

One of Carol’s most recent publications is Garden Treasures. What I appreciate most about the music in this book is the fresh and unpredictable sound of each of these pieces. There is quite a bit of intermediate music on the market these days and unfortunately, many of the pieces sound formulaic in the way that they approach harmony, melody, and form. However, Carol’s pieces are exquisitely unique, warm, and approachable for all intermediate students. Several of the pieces in this collection are also effective preparation for the music of French composers.

In the Mainstage Newsletter, Carol also talks about her new duet, At the Flea Circus. You can listen to and view this fun Level 3 duet with the Hal Leonard Closer Look feature.

In my studio, the two most popular pieces of Carol’s are Winter Wind and Banjo Picker. The Winter Wind (Piano Solos Book 3) is so dramatic, most of my pre-teen and teenage students love it. The Banjo Picker (Piano Solos Book 3) is as you might expect…just plain fun! Though it might appear difficult at first, students find it very simple after they learn the easy primary chord patterns that appear throughout the piece. It’s a great audience pleaser and sounds more difficult than it is. The orchestration for both of these pieces is excellent and will give added inspiration to the student.

Visit this page to see all of Carol Klose’s music showcased. If you did not receive this email and would like to, please join the HL Yahoo discussion forum or contact Hal Leonard to be included (1.800.322.1127).

Interview

Wendy — Thu, 21 Jan 2010 13:00:01 +0000

Lisa Lukas is a composer friend of mine in California. I met her on one of the piano teaching forums and we’ve shared ideas back and forth now for quite a while. Lisa has won several awards through Composer Today as well as several grants from ASCAP.

When my elementary level Irish Celebration piece came out, Lisa did an interview with me about composing elementary music and has now posted that interview on her “Music Composer” blog. It was fun answering the questions she raised and I appreciate her interest and time in creating this post. Thanks Lisa!

Composition Idea from Bradley Sowash

Wendy — Mon, 09 Nov 2009 13:00:41 +0000

Bradley Sowash, an excellent jazz musician and educator, was one of the composers that corresponded with me this summer about teaching composition to kids. Bradley shared with me that he thought specific assignments with specific parameters were helpful in working with students. One of the suggestions he gave was to have students learn through analysis of another composers’ works. Here was one of his very practical ideas:

Take the Bach G minuet from the A.M. Notebook, have the student fill in the chords and then ask them construct a non-baroque sounding piece that uses the same chords, phrase lengths, cadence points, etc. It drives home the fact that there are still an infinite number of pieces to be written using basic diatonic chords and that Bach was using the same materials as the rest of us.

In this month’s Clavier Companion, Bradley has written an excellent article in the jazz and pop section on teaching students to play by ear. I especially appreciate that he dispells common myths about playing by ear, one of them being that “playing by ear is an innate gift.” Bradley shares that in his 30 year career, having been exposed to hundreds of jazz musicians, only a handful of those began with ”anything other than average musical talent.” Read his entire article in the November/December 2009 Clavier Companion for more about how to help students learn to play by ear.

Carol Klose on Students Composing

Wendy — Fri, 06 Nov 2009 19:45:07 +0000

When I interviewed many prominent pedagogical composers on teaching composition to children, several of them had some wonderful things to say. I thought I’d share one of the quotes from our correspondence:

I feel strongly that piano teachers should encourage their students to explore the creative side of music through composition. If time or experience do not allow it on a regular basis, one can at least invite students to compose and then listen and respond with encouraging words. I have found that composing their own music touches young people in a way that faithful repetition of other composers’ works cannot, and brings out the best in performance and ownership of musical expression.

Carol Klose (a wonderful Hal Leonard composer)

Interview with Kevin Costley, Part 2

Wendy — Wed, 14 Oct 2009 13:00:52 +0000

Here is part 2 of the interview with Kevin Costley. Take a moment to read Part 1 if you missed it.

Kevin’s first experiences as a composer:
6. How did you practice the art of composing when you were first learning? What kind of exercises did you do to practice writing forms that were not only theoretically sound but pleasing to the ear? Did you use method books? If so, what do you use? If you did, how did you branch off from there? If you didn’t, what approach did you use?

These questions are very interesting. My first goal was to learn how to dictate melodies quickly on staff paper. Therefore, I did much practice writing nursery songs such as “Mary Had a Little Lamb.” I knew that it was vital to learn to write my original ideas quickly. Therefore, I practiced a lot of dictation, something that young budding composers often refuse to do (even after I advise them to do so). The next step for me was in writing down the original melody I heard in my head and could play on the piano for the entire piece (ABA). I would then try to write accompanying harmonizing notes in both the right hand and left hand that sounded pleasing to me. I thought if they sounded pleasing to me, they might sound pleasing to other people. My advantage has always been being an ear player in the first place. I was playing piano at church when I was 10 years old. I learned to play by ear before learning to read music. Therefore, my hands still often just simply fall on notes (sound combinations) that sound good. In other words, I don’t have to hunt for ‘pleasing sounds.’ When pedagogically challenged (such as the transition to the B movement then back to the A movement), I often look at other models in music (method books and other predominately successful writers in the field for ideas). Looking at quality models in writing is essential to developing sound writing skills! Even the most experienced and successful writer should play through other composers’ published works.

7. On average, how long does it take you to write a piece? Can you estimate how often you revise a piece?

This is all according to the level of a piece. I usually can write an intermediate piece much more quickly than a late elementary piece. Many composers say that writing elementary pieces are the hardest to write! When it comes to intermediate pieces, my first notation of a piece usually takes me one and a half to two hours at the maximum. Then I engrave the piece on Finale, which usually takes 30 to 45 minutes). Then I do several modifications to the Finale draft. I prefer to write articulations on the music by hand and my publishers are agreeable with this process. I always lay the piece out on a big table and see it in “WHOLE” before adding dynamics, articulations markings, pedaling, etc. Quite to the contrary of what a lot of people may think, a late elementary piece can take much longer to write, due to the many limitations in the leveling!

Composition Theory:
8. Do you think about AB or ABA when you compose or does the song just come as is? How much of your composing is thinking through theory and intentional effort before the inspiration comes and/or how much is song comes without any thought to that and then revise after have a melody? In college we learn all about the “rules” of smooth voice-leading. When you compose, are you always thinking about this, or does it come naturally after awhile?

I never sit down and purposely write an AB piece or an ABA piece, yet this might be a good idea to pursue. Basically, I notate what I am thinking and/or playing on the piano. Although most of my pieces are ABA, it is interesting to take a look at “A Visit With Chopin” in one of my Romantic Portrait collections. It is not ABA at all. I wrote the piece to a certain point and then I wrapped up the piece very quickly with a riveting ending! I even surprised myself with this idea and said to myself, “Where in the world did you get this idea!” I was very pleased with the idea (it wasn’t ABA). I’ve never quite duplicated this idea on any other piece since the writing of that piece. A lot of my writing and voicing comes naturally. I was writing piano pieces with correct voicing and “smooth voice leading” quite naturally before I took a graduate class in voicing. The professor told me I did this naturally, yet it was important that I now know what I was doing, so I could teach this type of voicing to other new composers. My main rules in voicing are to watch out for doubled notes that sound very hollow and empty. Also, I’m startled when I hear a lot of doubled notes in piano music today and some editors don’t catch these flaws. Eventually, with practice in writing, the rules of writing won’t dictate your writing; much of it will be come natural to you.

Kevin’s problem solving strategies:
9. What do you do when you get stuck?

I’m human. I SCREAM LOUDLY! Sometimes I do, yet I usually approach areas where I get stuck as a big challenge to overcome. I am never comfortable being stuck, yet these challenges are good for me. I usually try for a few minutes to get over the hump; after about 45 minutes, if I have no solution, I come back later in the day or the next day. Once it took about three days to come up with a solution after getting stuck!.

Kevin’s advice to composers:
10. To be a good composer how often do you have to practice and what are good compositions to play?
Practicing the piano (as a composer) is a rather personal decision. I know I don’t practice enough. Also some composers are not good pianists or good performers at all. Yet, the best composers have had or have much experience teaching students. They must be in touch with what they can play. They must be experts at good fingering and multiple details in music. They must be good editors of music. They should continually play through literature, either literature in the composer’s library and/or new literature (new releases from the leading piano publishing companies), staying abreast of the new trends in composition. Composers must lead the field, not just follow the field!

Do any of Kevin’s answers surprise you? Which of his responses were most helpful to you?

Interview with Kevin Costley, Part 1

Wendy — Mon, 12 Oct 2009 13:00:06 +0000

Thank you to all the students and teachers who submitted questions for the interview with Kevin Costley. All of the questions were interesting and thought provoking. I found that several of the questions overlapped, so it was easy to find 10 questions that at least touched on every person’s interests. Here are the first five questions and Kevin’s answers.

Kevin’s History:
1. How did you become a composer? How old were you when you first started composing? Was there any particular person that inspired you? What composer has been most influential or inspiring to your composing?

I became a composer quite by accident. In the late 1970’s I wrote several hymn arrangements and a helpful piano teacher friend helped me clean up my drafts. She taught me a lot about correct rules of notation. I laid these arrangements aside and paid no attention to them for years. Every year, I would take my own piano students to our local piano festival. Every year after returning home, pieces would roll around in my head. I thought, “I think I can write a piano piece.” Yet, I never sat down and wrote one. Finally one year, I went home from the festival and actually wrote five pieces. A dear, published composer friend, Glenda Austin encouraged me to publish these pieces. She said, “They are good!” After these pieces were published, my wife was very supportive of my writing. Also, I used Glenda’s pieces as models in writing, yet Glenda told me to refer to a well-known composer, William Gillock’s solos. She said that “Everything you need to know about pedagogical composing is in Bill Gillock’s works.” And so I did refer to him frequently during those early days of writing.

Kevin’s Ideas:
2. How do you come up with fresh ideas for your pieces?

I must say that I am very fortunate to never want for an idea to write. Most of my compositions come from inspiring locations, themes, or memorable events. 99 percent of my pieces begin with a title; I then build the piece around the title. I seldom write a piece and then say, “What am I going to name this piece?” I am always motivated by sights and sounds of the environment. I find motivation in what people do for enjoyment. I like to write about the beautiful earth where we live. I like to write about human emotions (i.e. “Remembering” – a romantic piece). I like to write to the heart of people. If a piece is about people, teachers will use it and it will sell.

Kevin’s Technique:
3. How do you first approach your composing? Do you have a checklist that you use (i.e. title, form, performer level, etc)?

As stated in an earlier question, I usually have a title and a scene or image in my head. While writing, I gradually build that scene until I get the desired outcome I want, an outcome I think the audience would want to experience (audience being piano teachers, students, and audiences who listen to these pieces). I don’t have a checklist while writing; however, as a major writer for the FJH Music Company, I do write to FJH’s keyboard director, Helen Marlais’ criterion for leveling (i.e. early elementary, elementary, late elementary, early intermediate, intermediate, late intermediate, early advanced). Therefore, while writing my own projects and “assignments for hire” (assignments assigned by FJH), I always have these important checklist by my side while writing. I check it carefully to stay within the chosen level. Some people might think that this criterion stifles the composer’s creativity. Actually, the opposite is true for me. Although the leveling of any piece is a challenge, even for the most seasoned and experienced composer, creativity can still abound within a specific level. There can still be ‘creativity within limits.” I believe that beginning composers should begin writing simple pieces with limits, then expand into repertoire of greater complexity.

4. Do you usually have some sort of inspiration before composing something which leads to your title or do you create the music and then give it a title that fits?
How do you come up with titles?

I have a title book where I save some titles. Titles come from many places (i.e. roadmaps, signs, sights, sounds, travel brochures/magazines, children’s books, catalogues, etc.). However, although I have many titles in my “Title Book”, I don’t use them all. The point is: never lose a good idea; it might serve the composer well later on in writing. I have written many pieces in the middle of the night after experiencing something wonderful or emotionally impacting during the day. While in Boston several years ago, I rode the trolley. In the middle of the night, I wrote, “Old Town Trolley” and “New England Getaway.” As you look at all of the titles in my duet collection, “Travel’s for Two”, most of those titles came from my traveling to various places. Sights and scenes motivate my very best and most imaginative writing.

Kevin’s Routine:
5. Do you have a composing routine? How often do you compose? Do you compose with pencil and paper and then input your work into a notation program or do you compose directly with a notation program?

At this point in my composing career, I have no routine at all. Most of my work at this point is “work for hire” for the company. In essence, major writers spend much time writing collaborative projects together at different levels. I also submit some of my own personal works and will continue to do so in the future. When I began composing, I became addicted and would often get out of bed and write in the middle of the night. I no longer do this. I’ve learned how to turn the creativity off (like a water valve) when I need to it off (in order to get other personal/professional things done in my busy schedule). I write most all of my compositions with an erasable pen on staff paper. I occasionally compose first on the Finale, yet very rarely. My goal is to write the grunt draft first (the hardest work!), then without delay get my original ideas on Finale, then…tweak my draft several times from the Finale copy before sending in the copy for publication. The best publications aren’t sent in immediately; the best writers sit on them and revisit them several days in a row, checking all details!

Stay tuned for Part 2 of this interview with Kevin Costley, coming Wednesday!

Last chance to submit questions!

Wendy — Sun, 04 Oct 2009 13:00:14 +0000

Tuesday is your last chance to submit questions to Kevin Costley about composing. After Tuesday, I will be selecting the best 5-10 questions and submitting them to Kevin so that he can work on writing answers. The longer I am a composer, the more I realize that it is not every day that you meet a composer willing to share their techniques or ideas with other composers. So, don’t miss out on this great opportunity to interview a living composer! Go to Interview with Kevin Costley to post your question as a comment.

Favorite Pieces from Kevin Costley

Wendy — Thu, 24 Sep 2009 13:00:34 +0000

Kevin Costley, the composer for whom you may submit interview questions, has written a number of books and pieces for all levels of students. His most recent pieces include Summer Portraits and Turkey Talk.

In this post, I wanted to share my favorite pieces by Kevin. In addition, I have asked Kevin to share which pieces are his favorites and why. Since Kevin has such a wonderful way with words in sharing what is behind the music, I wanted him to share first:

What are your favorite pieces and why?

Lost Star - Once on the National Federation list, Lost Star is one of my first pieces published. I enjoyed the imaginary experience of writing Lost Star. One night looking up at the moon and sky, I saw a cluster of beautiful, bright shining stars. Then I looked miles away and saw one star all alone. I then thought as a child might think, “How sad! That little star is all alone. He is lost in the universe.” The next day, I put my thoughts together for on paper. The late elementary piece is patterned and uses much of the keyboard. The pedal extends the ‘lost and airy’ sounds. This piece can be played by a first grader or a 13 year old. Both students can sound sophisticated performing this piece. One teacher told me, “The rhythms are very forgiving.” There is much latitude for interpretation.

Mighty Eagle – This piece, often refered to by others as a dynamic Native Indian piece was also a National Federation favorite. One day in a national park, I saw a huge, soaring eagle fly and sour above the mountains and into the valleys. I was captivated by it’s beautfy and grandeur. I began to hear some big, dignified sounds in my head. Little did I know that I would write an expressive introduction and powerful sounding “big chief’ sounding theme. The eagle sours with the flowing eighth notes in the B theme, then is followed again by the return of the A the B theme, with a five measure riveting surprise where the eagle captivates all who look at him in awe! The piece returns to the A theme and has a very soft forlorn fading and lingering ending. Then there is awesome silence. A proficient intermediate student can sound like a “master” at the piano with this piece! I still like Mighty Eagle as much today as I did years ago when I wrote it.

A New Beginning – This piece was written affirming my love and admiration for my wife, Dana. This romantic piece has a lyrical melody with a very simple left hand accompaniment with double notes. The melody leads the piece to the conclusion. The piece resembles gentle, lullaby music that could be recorded and played while a baby is put to bed. After the B theme, the return of the A theme accelerates just a little with celebration with a differering left hand pattern. The emotional appeal engages both the player and audience to the winding down ending of the piece where the melody (a short theme) is repeated several times at different octaves on the piano. The last four measures has a pulsating repeating harmony note which is commonly not used in pieces today. The last tones are held until they almost die away. Once again, the final silence is golden. Everytime I play this piece, it gives me hope for the future, knowing that all tomorrows can be bright and peaceful.

My favorites:

Mighty Eagle, Early Intermediate
I chose this before Kevin shared with me that it was his favorite too! The introduction to this piece has a mysterious and somewhat fragile sound. It is followed by a very regal and dignified melody as the first theme. Left hand figures are all fifths and the RH has a few sixteenths that can be taught by rote if need be. The B section features the “eagle soaring” as an eight note pattern is introduced then echoed an octave higher. The soaring continues until the piece culminates into the climax using fourths in the RH and fifths in the LH. The original theme is repeated and skips to the ending where the eagle begins to drift away. A student wanting an emotional and dramatic performance will love this piece!

My Bold Argentina, Intermediate Duet
A few of my high school students performed this and had such a great time even though it was easier than their current level. The piece is very dramatic and has many opportunities for students to play with great passion and enthusiasm. I especially appreciate the small moments of silence after staccatos that really grab the attention of the audience. This is a fun, passionate piece!

Winter Portraits, Intermediate
There are a number of great pieces in this book, so I will highlight just a few. In all, I was impressed with how each of the pieces really captured something musically about winter. I very vividly felt the cool wind on my face, or the snow falling around me as I played these pieces.

I felt the chill of the winter air as I played The Cold Winter Wind. There are many passages of beautiful sounding patterns which will make the piece easy for a student to learn and memorize. Both hands move around the entire piano in this piece making it an impressive recital piece, but the gentle sounding patterns make it a great piece for the emotive student as well. At the end of the piece, I wanted to say, “Ah…” It was breathtaking.

Winter Shadows has a beautifu melody accompanied by very nice sounding harmonic sequences which teenage students will especially love. This piece has a melody that the student and teacher will hum the rest of the day!

Winterborn was my favorite piece in this collection. Written in the key of Eb, it may seem to be one of the most difficult pieces for a student. Yet, its compelling melody and beautiful harmonies will invite any student to rise to the occasion. The piece is about a newborn lamb or the “winterborn.” It sounds a cold, yet peaceful; chilly, yet inviting. It reminded me of what music might be playing as Mary gently laid her sleeping baby in a manger on that cold, winter night.

There were several other more lively pieces in this collection. Perhaps it was the mood I was in at the time, but those were the ones that spoke to me and have appealed to my students the most.

Who is Kevin Costley? Things you may not know…

Wendy — Wed, 23 Sep 2009 13:00:25 +0000

Hopefully, you and your students are thinking of interview questions for Kevin Costley. Don’t forget to leave them as a comment to the “Your Chance to Interview Kevin Costley” post. You have until October 6th.

In case you don’t know Kevin, I wanted to share more about him in this post. I asked Kevin some questions about his life and he has shared some things with me that you might not know…

Is there anything about yourself that you think students would find interesting?
I am an identical twin! My twin brother is great at hunting and sports. I’m the musician in the family.
Can you tell us more about your current position?
My current job is not in music. I am an Associate Professor of Early Childhood Education at Arkansas Tech University. My job, training students to become public school teachers, centers around my for children and learning. Everything I believe about development in children is transferred to my writing of children’s piano works.
What is your favorite part of the composition process?
My favorite part of the composing process is having a title in my head and sitting down and writing a piano piece to match the title, much like sculpting a sculpture.
When did you start composing music for students?
My first compositions were published in 1997, so I am relatively a new composer on the scene.

This is Kevin Costley’s official bio:

Dr. Kevin Costley holds several graduate degrees in the areas of curriculum and instruction and pedagogy/literature, including a Ph.D. from Kansas State University. At the age of 27, he was distinguished as one of K-States youngest doctor’s. For nearly two decades, he was owner/director of The Keyboard Academy, specializing in small group instruction.

Year, 2010 will be Dr. Costley’s 16th year teaching at Inspiration Point Fine Arts Colony Piano and String Camp. He is an exclusive/ major writer for the FJH Music Company. He has composed/published over 180 piano works. His solos/ensembles have been and are on the National Federation of Music Club lists and other state lists, including the Royal Conservatory of Music. His creative music has received positive critical reviews in leading national music publications. As Associate Professor of Early Childhood Education, teaching both undergraduate and undergraduate courses, Costley presents early childhood music/lyrics presentations at state and national conferences. He also serves frequently as clinician for piano workshops, adjudicates numerous state, regional, and national/international composition contests and judges many piano regional festivals, guild auditions, and piano competitions.