
S P R I N G !
For college music majors, Spring often means launching into the final frenzy of practice to get ready for end-of-the-year juries and recitals. For younger pre-college students, it means once again riding their bikes, getting out the skate boards, little league practice and games, - in short, doing all of those wonderful outdoor things that inevitably provide big-time competition for indoor piano-practicing. For piano teachers, this season also usually means getting students ready for the annual "Spring Recital." Surely our goal for this event is twofold: to provide our students' families and friends with an opportunity to share and enjoy the progress they have made during the year, and to provide each student with an opportunity to shine like the brightest star so that the academic year ends with a flourish! What are some of our criteria for getting our students ready for this event? The first thing that comes to mind is the selection of repertoire-being sure that the chosen music really "fits" them technically and musically, as well as plays up their individual strengths. Over the years, I have found that rather than my selecting student recital pieces, a better plan is to ask the students themselves to choose them. Here's how it works. Five or six weeks before the date of the program, the students are asked to make a list of a half dozen or so favorite pieces-pieces that they really like and enjoy playing. These should also be pieces that they think they play really well, and ones that they believe the audience will enjoy hearing as much as they enjoy playing. Once we have the list, then in each subsequent week, we narrow it down until shortly before the recital, we end up with the two or three pieces that will actually be programmed. (One of these is usually an ensemble piece.) The best thing about this approach is that in addition to ending up performing music that they like, the students also always end up playing those pieces which they play the best. Most know themselves so well that they usually demonstrate great wisdom when choosing their recital repertoire! Another consideration when preparing students for the Spring Recital is the issue of memorization -being certain that students are ready to perform publicly from memory if indeed we require that they do so. Although it goes without saying that the benefits of memorizing are multifaceted, and that all students should learn how to do it, I think the issue is when and where they should try their "memory wings." Here again, although most of my students will probably have securely memorized their solo recital repertoire well before the date of the program, they are given a choice about whether or not they wish to use the music in the recital. About half of them elect to do so, and the other half perform from memory, but almost without exception, each makes a wise decision about this! I try to make the point with the students and with their parents that the really important issue is always the quality of the performance, not the format in which it occurs. Above all, students must feel successful, and both they and the audience must truly experience the joy of music and music-making! For me, this is always the bottom line. Inviting students to participate in choosing their recital pieces and in selecting the mode of their presentation (with or without the music), is another example of "student-centered" instruction (as opposed to "teacher-centered") which was discussed in this column in the Autumn 2001 issue of the magazine. When it comes to preparing for the Spring Recital, perhaps this approach will help students find the indoor business of daily practicing a bit more tolerable in spite of the many out-of-doors distractions that inevitably vie for their attention about this time each year.
|

young piano students from across the country have provided audio
clips for this issue's website! Marvin Blickenstaff asked several
teachers, "What are some of your students' favorite
recital pieces?"
Four teachers - Carolyn Cassidy, Sr. Jane McGettigan, Rosemary
Olsen, and Donna Sanders - submitted a very useful annotated list
of pieces. Then as an added bonus (this wasn't announced in the
print magazine), these teachers' students, ranging in age from
8 to 17, provided us with recordings of many of these pieces! Be sure to give a listen to these
exciting and expressive performances!.
Linda Kazmirski responds to "What are some rhythmic pieces you like to teach and why?" with her written article and audio clips that demonstrate the points made in her article.
![]() |
Teacher/Student/Parent Barbara Kreader, Editor |
|
Barbara Kreader |
|
|
|||
![]() |
Home Practice Elvina Pearce, Editor |
|
Linda Barker |
|
|
|||
![]() |
Music Reading Craig Sale, Editor |
|
Karen Foley |
![]() |
Technique Scott McBride Smith, Editor |
|
Charles Asche |
|
|
|||
![]() |
Rhythm Bruce Berr, Editor |
|
Ingrid J. Clarfield |
|
|
|||
![]() |
Perspectives in Pedagogy Kathleen Murray, Editor |
|
Cynthia M. Colwell |
|
|
|||
![]() |
Adult Piano Study Brenda Dillon, Editor |
|
Florence Grossman |
|
|
|||
![]() |
Repertoire Marvin Blickenstaff, Editor |
|
Carolyn Cassidy |
|
|
|||
|
|
Technology George Litterst, Editor |
|
George Litterst |
![]() |
News and Views Helen Smith Tarchalski, Editor |
|
Bonnie Kellert |
|
|
|||
