Notes & News

About Kinhaven Piano 4-Hands Workshop

Every summer, I coach adult pianists at Kinhaven’s Four-Hand Piano Workshop in Vermont. Here is an account written by one of the “campers.” See Kinhaven Music School for information about how to join. 

Important, Moving and Meaningful: The 2018 Piano Workshop
“By Susan Isaacs Nisbett

“Like all the children of Lake Wobegon, every session of Kinhaven’s Adult Four-Hand Piano Workshop is above average.Jackie Zins, Washington DC; Nancy Breth (coach/page turner), Washington DC; Nancy Thaler, Tunkhannock PA

“Each year, astonishingly, often seems the best of them all. And indeed, it would hardly be wrong to believe the decades have improved it, if 2018, year 25 for the workshop, under the caring, inspiring direction of its founder, Leander Bien, is the example. The silver-anniversary session rang out forte and sang con anima for participants and faculty alike.

“The weather, so often fickle in late May-early June, was nigh onto perfect. No one froze, sweated to death or drowned in torrential downpours. Participants came from far and wide geographically, a mix of stalwarts and newbies. The attendance, 12 duet teams, was at the max, though one late withdrawal meant 11 duet teams and some super, last-minute solo Beethoven from one longtime participant.Connie Phillips, Pittsburgh PA; Mary Miller, Myersville MD

“That performance was part of the workshop’s annual grand finale: Recital Time, when bananas fly off the dining room counters to be devoured by performers who believe in their nerve-calming powers. In keeping with the 25-is-special nature of 2018’s gathering, the workshop terminated with two recitals, not the usual one-off. That avoided a marathon 3-hour affair Sunday a.m., with still-substantial Saturday evening and Sunday morning recitals in its place. It was a great innovation, keeping ears fresh for dazzling, high-level performances of gorgeous four-hand compositions that ranged from Bizet and Brahms, Debussy, Dvorak, Faure, and Ravel, to transcriptions of J.S. Bach and Gluck and infrequently heard compositions of Goldmark and Warlock.

Cory Newman, Palmyra NJ; Victor Galindo (coach/page turner), Washington DC; Amy La Civita, Fairfax VA

“The coaching that coaxed and cajoled these high-level performances was a regular highlight, with Bien, Nancy Breth, Victor Galindo, and Andrew Harley giving their all and more: Sign-ups for extra-credit, short evening meetings with them filled up faster than plates with chocolate mousse prepared by the treasured kitchen crew, led by Gretchen Gould. Mid-session, coach Harley offered a terrific master class for two teams of regular four-hand partners. And all the way through, that most-valued player, Alexander Technique teacher Kristin Mozeiko, kept those shoulders from hunching and backs from slouching (or hurting!).Andrew Harley (coach), Washington DC; Madeleine Fleury, Montreal

“The annual faculty concert, with the aforementioned coaches teaming up for breathtaking performances of four-hand Beethoven, Schubert, Guastavino, and Riley was, as always, a thrill. Likewise the special 25th anniversary solo concert by celebrated pianist and conductor Ignat Solzhenitsyn, a Kinhaven alum and cherished former piano workshop coach. Solzhenitsyn’s concert, with the Mozart F Major Sonata, K. 533/494, and the last Schubert Sonata, in B-flat Major, D. 960, left a profound mark on all the listeners in the concert hall.

“I’ll just close by inserting myself into this story for a sec. I’ve come to Kinhaven for 21 of the workshop’s 25 years. I wrote about classical music for my local newspaper, in Ann Arbor, Mich., for almost double that number of years. Some of my most important, moving, and meaningful listening and concert experience has been at Kinhaven. I’d say that about friendships and music making, too, with both faculty and students. Above average doesn’t begin to sum it up.

“Susan Isaacs Nisbett worked as a journalist – feature writer and editor, and arts writer, for more than 40 years. Now retired, mostly but not entirely.

“All photos by Steven Breth”

How to Decode a Musical Score

We can learn a lot about a piece without even playing a single note of it. A musical score may look like it’s full of secrets, but we can uncover the secrets if we look carefully and think about what we see.

The composer always gives us hints:

  • The title
  • Tempo marks
  • Descriptive words in the music, such as leggiero, marcato or con fuoco.
  • Overall dynamics. Where is the loudest part, the softest part? Is the piece mostly loud, mostly soft, or constantly changing?

You can ask yourself…

Rhythm questions

  • Which rhythm patterns does the composer use more than twice?
  • Is there a rhythm pattern that only happens once?
  • Is there a rhythm pattern that looks confusing? Write in the count. Start with the simplest part of the measure—the first count, for example, or any long note. Write in the counts for that part; once you’ve done this, you can probably figure out where the remaining counts go.

Melody questions

  • Which hand plays the melody? If there is more than one line, or voice, played by one hand, which voice is more important?
  • Where else can you find this melody in the piece? How many times?
  • Does the melody move mostly by skips or by steps?
  • Do you see a scale, chord or arpeggio that you recognize?
  • Is there any melody that happens only once?
  • Do both hands ever play the same thing?
  • What’s the highest melody note in the piece? The lowest?

Accompaniment questions

  • What is the first note in each measure? Look at the downbeats of four measures in a row. Do you see a pattern?
  • What interval is used most often? Least often?
  • Do you recognize any chords?
  • Does the accompaniment ever look like a melody?

Phrase questions

  • How many measures does each phrase contain?
  • What is the highest melody note in the phrase? The lowest?

Watch Nancy O’Neill Breth demonstrate decoding a musical score.

Don’t Eat Cookies While You Practice

After years of teaching, it dawned on me that there must be a more effective, more pleasurable way to teach students how to practice than the highly repetitive and often ignored sermonettes I found myself delivering week after week.

I asked my students, What tips would you give to friends who want to improve their practicing? Some offered wry suggestions like “Don’t eat cookies when you practice or your Mom will yell at you,” but others came up with shrewd advice like “Pay as much attention to rests as you do to notes.”

Over time, I compiled dozens of simple, effective practice tips—some from my students, some passed down by my teachers (and their teachers), some shared by colleagues. I added these to my own inventions and published them as practice guides for students, parents and for anyone looking for comprehensive practice tips.

The student practice guide serves as a student toolbox. I give every student a guide and over time I show how each practice tip is a tool that can fix a particular problem. I say, #21 will take the bumps out of bar 43, or try #7 to get better balance in the B theme. Then, at home, the student can look up #21 and #7 in his practice guide and follow through.

Eventually students learn to make their own practice prescriptions, matching one or several practice tips to their specific needs. So not only does the practice guide save my breath and our lesson time, it teaches smart practice habits, analysis and problem solving. I see these young people moving toward a level of musical independence that will make their lessons with me merely the first stage in a lifetime of engagement with the piano.

Learn More about the Practice Guides

How to Find the Right Fingering

  1. One hand at a time, play a phrase, or part of a phrase, very slowly. Using the printed finger numbers as guidelines, fill in the gaps with the implied fingering. Use your knowledge of scales and arpeggios to fill in the rest. Try it at the projected final tempo. If the fingering is still comfortable, proceed to step 2.
  2. Add the notes directly before and after the part you’ve just fingered.  Does your fingering fit with them?  If not, make the necessary changes. If so, go to step 3.
  3. Write the fingering in the music: write all numbers if the passage is complicated. Otherwise, write in guide numbers. In the scale and arpeggio passages, for example, the numbers that will help you most are 4, 3 and 1.

General principles to keep in mind

  • Establish a “permanent” fingering early on. Use it every time you play the passage and don’t change it unless you’re sure it doesn’t work.
  • If a passage is difficult to finger, find the spot that can only be done with one possible fingering, and work backward or forward from that spot.
  • Avoid using weak combinations, like 4-5, at important points.
  • When fingering repetitive patterns or sequences, try using the same fingering for each pattern. If keyboard geography makes any one pattern too awkward, change its fingering to fit, but don’t be afraid of using 1 or 5 on black keys.
  • If the printed fingering doesn’t work it can be changed. Have a good reason for changing it, though, and write your fingering in the music.
  • If you mis-finger something during practice, stop and write the fingering in the music immediately. If it’s already written in, circle or highlight it and drill immediately.
  • If mistakes keep occurring in a passage, search for a new “permanent” fingering.

Breth Studio Pianists Take Their Technique to the Olympics

2012_12_02_1698Every year the Breth Studio holds a Piano Olympics. This is a technique exam, but more than that it is a celebration of students’ accomplishments in a comprehensive, demanding technique regimen. Alexander Peskanov evaluates students on all seven levels of the Russian Technical Regimen. The hard work that every student puts into Piano Olympics preparation, plus the masterful instruction from Mr. Peskanov, make this event both fun and inspiring for students and parents alike.

Alexander Peskanov grew up in Ukraine and came to the US for graduate study at The Juilliard School. He adapted the Russian technique regimen for use in American piano studios and he adjudicates Piano Olympics all over the country. The Breth Studio has hosted Mr. Peskanov every year since 1995. He comes from New York and spends the day evaluating students of all ages in levels 1 through 7 of the regimen.

Mr. Peskanov is a remarkably attentive, involved, and inspiring teacher. Students, parents and teachers alike come away with a whole new outlook on piano technique.

Some quotes from Alexander Peskanov at Breth Studio Piano Olympics:

Sound

“What am I listening for in your playing? I am listening for mastery of the sound. When you have that, you will have the ability to express your feelings through sound.”

“Put more thought into how your playing sounds. Use dynamics to make it sound more like music. When we play music, we phrase, giving each phrase a beginning, a climax and an end. It should be the same with scales. Make the scale like a phrase, like a sentence.”

“Play RH louder than LH. Don’t use the same sound in both hands, because then you can’t hear the difference between registers: the notes blend too much.”

Practice

“What is the purpose of the technical regimen? To learn how to practice, which means, to learn how to think about important things: counting the pulse, listening to every note, making beautiful music.”

“As you practice the regimen, you’re not just training your fingers, you’re also training your ears. Making music is really the objective. So when you practice, spend more time listening to the quality of your sound. Make comments to yourself like, ‘That was a good chord’ or ‘My tone is weak here.’ Listen to what you play, and react to what you hear.”

“If you always practice fast, you might start playing like a machine.”

“When you play slower you can hear what’s happening between the notes. Younger kids who can’t play fast yet often play more musically than older kids who play fast. That’s because the young ones are still listening to every note and to what happens between the notes.”

“Stay slow until you can hear every aspect of your playing; listen and phrase everything.  Only then should you speed up. If you practice this way you will actually learn at a much faster rate.”

Scales

“Play with better sound & articulation. Use a warmer tone—sink more into the keys. Listen for synchronicity, voicing, legato, dynamics, articulation.”

“Challenge yourself musically. Make a crescendo to the top, then diminuendo back down. Make the scale like a phrase, like a sentence.”

Block chords

“COUNT!”

“As soon as you play one chord, think about the next one. Move your eyes to the next position before you put your fingers there.”

“When you listen to block chords, think of eight different instruments, or eight different singers.”

“Distribute the sound well among the fingers, so that there are no holes in the sound. Then show the melody by bringing out the top notes of the chords. More advanced students: stress each of the four or five notes in one block chord”.