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What is your first memory of the piano? 

My mother always played the piano. We had an old Aldrich upright that she played while she was pregnant with me and that I played until I was 13 years old. She was my teacher at that time.

Who or what inspired you to start teaching?

I was a performance major and first taught some students for a friend in her absence. I enjoyed teaching but did not have the training for it.

Who were your most memorable/significant teachers?

I studied with Franceen Downing, who took me through my early teen years and then with Dr. Bob L. Bennett through my last two years of high school and four undergraduate years at California State University, Fresno.

I studied with Ena Bronstein while working on my Master’s Degree. She had a beautiful way of imparting the Arrau technique. I also studied accompanying with Tait Barrows, a wonderful and humorous collaborative pianist and wife of the late John Barrows, horn player.

Who or what are the most important influences on your teaching?

By far the most important influence on my teaching was a one-year internship with Margaret Talcott who gave me a teaching curriculum specific to piano that introduces concepts and skills at appropriate age/cognitive levels.  Curriculum-based teaching enables anyone who practices regularly a chance to play the piano with confidence.

Most memorable/significant teaching experiences? 

Most lessons I teach are memorable (to me anyway). The only lessons I find difficult occur when a student loses interest and stops practicing for a period of time. Fortunately, this does not happen often.

What are the most exciting/challenging aspects of teaching adults? 

I find it exciting to teach adults when they progress. Adults are a challenge because the business of life can easily get in the way of practice. Their time is not protected by their parents as a child’s would be.

What do you expect from your students?

I expect regular practice, the ability to work out a piece independently with correct notes, rhythms and dynamics, regular attendance at lessons, performance on some recitals, and a solid understanding of the theory behind their music.

What are your views on exams, festivals and competitions?

They are fine if they don’t interfere with the process of learning skills and concepts. If the extra activity throws off the curriculum or forces concepts to be taught before I would normally teach them, then it is not worth the imbalance it produces in my teaching. I have no personal stake in whether my students impress adjudicators or other teachers by their playing and I am more interested in how well they are learning. They are happiest and want to continue piano lessons when they feel confident in their ability to teach themselves.

What do you consider to be the most important concepts to impart to beginning students, and to advanced students?

To beginners: solid rhythmic playing, reading skills, the use of creative improvisation to reinforce concepts

To advanced students: persistence, technical ability to play what they want, freedom to choose the type of music they like to learn

What do you consider to be the best and worst aspects the job?

I think it’s wonderful to begin a student when they’re young and watch them grow up. The worst aspect is the pay.

What is your favourite music to teach? To play?

I like to teach any music and prefer to play “classical”, especially chamber music. I also enjoy singing and playing my own songs accompanying myself on the piano or  guitar.

Who are your favourite pianists/pianist-teachers and why?

Claudio Arrau was my all-time favourite because he often took slower tempi, enabling the listener to hear everything that the composer wrote. Ena Bronstein is my favourite pianist-teacher.

Janet Jones began piano lessons at age four and has taught many students of all ages, preschool through adult. She also teaches Musikgarten, birth through age five. She grew up in Fresno, California and received her Master’s Degree in piano performance from CSUF, Fresno. She also has a Master’s Degree in Education, Curriculum and Instruction from the University of Phoenix. She currently teaches at her own small piano studio in Madison, Wisconsin. She also enjoys performing folk tales and original songs and stories for children and adults.

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My teaching term finished at 4.45pm today as I saw the last student, Tom, out of my warm, cosy home into the cold, dark, snowy evening. I pressed a giant chocolate coin from M&S into his gloved hand, and cheerily wished him and his mother a Happy Christmas, while also reminding him to practice over the holiday. Officially, my teaching term (which runs for 12 weeks) ended last week, but I had to cancel some lessons and carry them over from last week.

Now, I am afforded an opportunity to review the term just ended and look forward to the spring term. As always, it has been a busy term: there has been much music made, new pieces learnt, old ones revised and finessed. I’ve sat through hours of scales and other technical work, done a fair amount of pre-exam hand-holding (mostly of anxious parents rather than students), and talked endlessly about “telling the story” and “painting pictures” in music. The hugely successful Christmas concert marked the culmination of the term and was a wonderful tribute to my students’ hard work this term – and mine too! Three students took the Prep Test, a pre-Grade 1 “taster” exam, five are working towards Grade 1, including two of my adult students, and three are working on the Grade 2 syllabus. I am enjoying teaching the exam syllabuses, as the current crop of pieces are varied and interesting: why weren’t the exam lists this interesting when I was taking my music exams, way back when….?

Particular highlights include: Eli playing my adaptation of Pachelbel’s ‘Canon in D’, a piece he chose himself, and which he played with real panache and surprising depth for an 8 year old; Claire, a student who has really blossomed this term, playing ‘Walking In The Air’ at the Christmas concert; Harrison’s improvised ‘Vampire Blues’ (“but please don’t do that in your exam!” I warned), Bella’s lovely, measured reading of Bach’s Prelude No. 1 in C; Tom’s ‘Chinese Crackers’, one of his Prep Test pieces which utilises the piano’s harmonics in a clever way; and Marianne’s ‘Snowdrifts’, a piece which seems particularly appropriate given the current weather!

As for my own music, I have put to bed, for the time being at least, Debussy’s Prelude ‘Voiles’, after performing it in my Christmas concert. Listening to the recording was a mixed experience: despite all the plaudits I received from friends, parents, students and family on the day, I feel there is plenty of room for improvement. A pause from this piece will help me reappraise it and think about what else I need to do with it. Meanwhile, I am making interesting inroads into Messiaen’s 4th Vingt Regard, a deeply arresting piece which requires a huge amount of emotional input (the notes themselves are not so difficult), and the Toccata from Bach’s 6th Partita, which is cerebral and satisfying (the scores are in my suitcase to read in France, together with my fold-out keyboard to enable me to mark up the rest of the Messiaen properly). The Chopin Ballade continues to haunt me – in a good way – but it is on the backburner while I try to get as much Diploma repertoire into my fingers: 2011 could be the year I take the exam, or not, depending on how I get on….

The Spring term will see three students sit their Grade 1 exam, and at the end of the term I will attend my teacher’s advanced piano course again, where I hope present more of my diploma repertoire. I will also rise to my teacher’s challenge, and play Chopin’s Etude Opus 10 No. 3 at the end of course concert.

For the time being, I am looking forward to a couple of weeks “off” (though not off the piano, of course), and a chance to catch up on some reading and listening.

Merry Christmas to all my readers, some loyal and regular, others casual and occasional. The Cross-Eyed Pianist will return after the holiday.

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My forays into the periphery of jazz repertoire have made me reconsider and adapt some techniques to suit the mood, nature and simple ability to play the pieces by Gershwin I am learning at present. This issue came up on the piano course in March, when one of the students, who presented the first two Gershwin Preludes for the masterclass, was urged by teacher to put aside all her classical training and thought processes, and to start thinking and playing like a jazz pianist. Thus, in the opening measures of the first Prelude, she was urged to “slap” the keys, literally throwing the hand at the keyboard, to allow the weight of the arm to create tenuto, and to employ heavy, lazy staccato. The difference in the sound of the piece was instant. It was immediately more “cool”. unforced, lazy almost. This kind of playing is very difficult to achieve – and this brief lesson in jazz piano technique proved that even the most improvisatory playing is based on very solid foundations of technique and harmonic awareness.

I’ve been putting some of these teaching “tricks” into practice with my students, a number of whom have expressed interest in learning some jazz, and while I would never ever profess to be a teacher of jazz piano (it’s a whole ‘nother world as far as I’m concerned!), I’m happy to work on some simple pieces with my students.

One student, who joined my studio last summer, was “escaping” from jazz. Her previous teacher was obviously keen on jazz and was teaching the ABRSM jazz syllabus which is very separate and distinct from the ‘classical’ piano syllabus. Like me, Bella was finding the music quite incomprehensible. Together we looked at the score, puzzled by some of the markings. I’ve been playing the piano for a long time (over 35 years), and I pride myself on my excellent sight-reading skills which enable me to pick up most music and gain a reasonable understanding of it on first view. Grade 2 jazz repertoire, however, was a mystery. What did the instruction “straight eights” mean? And what were those dashes where the notes should have been on the stave? (We realised eventually that this was a marking for improvisation.) Some internet research didn’t enlighten me much, and I was relieved when Bella declared she wanted to return to classical repertoire. Indeed, it was a relief to both of us to open the Grade 2 book and see a comforting page of Haydn.

Fortunately, Gershwin’s scores look like ‘traditional’ piano music: there are no weird markings, and he uses standard Italian terms, and places where crossed hands are required are less for virtuoso effect and more for ease of playing. So, by not having to translate the score into a language I understand, I can devote more time to honing technique to suit the music.

My students are growing familiar with my weird and wonderful visualisation techniques. Asking them to “tell the story” of the music has produced some wonderful effects, especially in those students who have been working on exam repertoire, where musicality is as important – if not more so – as playing the notes accurately. Reminding them that the piano can be “orchestrated” or played to mimic a particular instrument is also useful. Another trick I employ is asking a student to “hear” or “sing” the music in their head before playing. My teacher does this with me and it really does work. Another technique, employed at a recent lesson, was asking me to play the opening movement of the Poulenc Suite in C with my eyes closed, thus forcing me to think about touch and quality of sound.

Most of my students now know about the “giant invisible hand” which “lives” in my piano room. This helps them to articulate their hands towards the black keys by moving their elbow, or to push the wrist down to play drop slurs. It also pushes the forearm along to move the hand and wrist fluently when playing scales and arpeggios. It sounds daft, but this, more than anything else, is the visualisation technique which works the best. Even my adult students have come to know it and tell me they find it useful when practising at home.

Something else my teacher does is play on my bare forearm to demonstrate touch. The skin on the forearm is very receptive and it’s amazing how a quick demo of how I should be playing the opening measures of my Chopin Etude can be translated into sound on the keyboard. I have not yet tried this with my students; sadly, these days of child protection and over-cautiousness about touching children have made me wary of doing anything more than occasionally adjusting a child’s hand position.

Little Sam, who is only 8 and is already showing an affinity for jazz after only a year of lessons (he pulled off a characterful performance of ‘The Entertainer’ at my summer concert), proved at his lesson yesterday that he understands about “jazz hands”. He quickly picked up the idea of “slapping” the keys, lifting his hand off the keyboard momentarily before allowing it to fall heavily onto an E flat, thus emphasising the syncopation in the bar (he’s learning a piece called ‘Homework Blues’). Later, when I was looking at the opening of Gershwin’s first Prelude, I found myself doing exactly the same thing, which just goes to prove how one’s teaching can inform one’s own playing: it seems that by teaching a new technique it crystallises it in my mind – and fingers.

And now I really must do some practising…….