An interview with Nelita True

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Nelita True made her debut at age seventeen with the Chicago Symphony in Orchestra Hall; her New York debut was with the Juilliard Orchestra in Avery Fisher Hall. Since then, her career has taken her to major cities throughout the world performing, presenting master classes, and serving on the juries for international piano competitions.  The ...

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My life as a job applicant

One pianist's quest to obtain the elusive faculty position I found that the most difficult part of entering the academic job market was getting started in the first place. At the time, I was teaching (adjunct) at a university and finishing up my doctorate. Finding more time to gather job prospects, prepare cover letters, recording so and other mate...

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A survey of current methods: Alfred's Premier Piano Course

This issue continues Clavier Companion's survey of piano methods1. Each article in this series will have three sections - an introductory synopsis by the Associate Editor, two articles written by teachers who have used the method extensively in their studios, and a response from the authors of the method surveyed in the previous issue. We...

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How do you teach the rhythm challenges in Debussy's Clair de lune?

In this department over the past thirteen years, many authors and myself have alluded to two different meanings of the term "rhythm." Prosaic rhythm (also called counting rhythm) is the mere timing of events decoded from the printed page using counting or other methods. Poetic rhythm is much broader, encompassing virtually everything...

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How do you use DVDs and YouTube videos of historical pianists in your teaching?

A few years ago I asked piano majors in a piano pedagogy class to name some twentieth-century pianists. Elton John and Liberace were mentioned, but few classical pianists were identified. I later did a presentation to the group on historical pianists, beginning with Ludwig van Beethoven, his student Carl Czerny, and his two nineteenth-cen...

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How do you use technology in live performances?

You cannot play the late piano works of Beethoven on an early Cristofori pianoforte because there aren't enough notes. You also cannot play the music of Chopin on a mid-eighteenth-century piano because it is too impractical to manipulate the dampers with a knee lever. Nor can you expect to play the works of Liszt, Rachmaninoff, or Prokofiev on...

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Is there a piano in the house? (What I did on my summer vacation)

Can you imagine spending ten glorious days in a stunning country setting, surrounded by good food, good company, and thirty pianos? Many pianists have done just that by attending the Sonata camp, held in an antique-filled forty-two-room house set on two luscious acres of rolling hills in rural Vermont. The Sonata camp has b...

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I've got a classic case of the blues

The sounds of jazz have always fascinated classical musicians. In the earliest years of the twentieth century composers such as Debussy, Hindemith, Milhaud, and Stravinsky were all drawn to the infectious rhythms of Ragtime.' As jazz harmonies and forms became more sophisticated, classical composers incorporated more diverse jazzy elements int...

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Winds of Change

I recall that in my undergraduate years, eons ago, the concert piano received a tuning before every senior recital. The tuning often occurred within the hour or so before the recital itself; when scheduling prevented this, a sign was placed on the piano declaring it off-limits to heavy use. Such attention to detail seemed natural in an environ...

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About Piano Magazine

Piano Magazine is the leading resource for pianists, piano teachers, and piano enthusiasts. We bring you informative, interesting, and inspiring ideas on all aspects of piano teaching, learning, and performing. The official name of Clavier Companion magazine was changed to Piano Magazine in 2019.

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