Turning the Corner on Teaching Creativity: Transforming Common Knowledge into Creative Potential with Jeremy Siskind  Did you enjoy this webinar? Please complete our brief survey to help us improve our webinar series and continue to bring you the highest quality resources in piano teaching. 

Emilie Lin has arranged five traditional melodies in her publication Hearts of Asia: Chinese Folk Songs, published by FJH. The first four pieces have lovely, cantabile melodies which are divided between the hands. They also have simple, beautifully written duet parts which could be played by a teacher, parent, or student at the early-intermediate l...

What is the difference between a fake book and a real book? Both fake books and real books are collections of lead sheets, that is, pieces presented simply as melodies and chord symbols. Some jazz musicians use these collections at gigs to have a wide array of tunes at their disposal. The term "fake book" is used as a broad category for these colle...

NCKP has eleven subcommittees, comprised of leaders in each of the following subcommittee areas: collaborative performance, collegiate pedagogy teaching, creative music making, inclusive teaching, independent music teachers, music in early childhood, research, students and young professionals, teaching adults, technology, and wellness. Over seventy...

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(S3-4) Big Phat Jazz Piano Solos: 10 Big Phat Band Classics, arranged by Gordon Goodwin. (S3-4) If you're not familiar with the name "Gordon Goodwin," you probably haven't played in a high school jazz band in the last fifteen years or so. Goodwin's music has achieved near ubiquity in the jazz e...

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For a pianist without high-level management, organizing a tour can feel like an impossible undertaking. There are many reasons why touring is harder than ever before: venues for classical and jazz music have been shuttering their doors all over the country, audiences are far from guaranteed even at the most reputable venues, most major papers no lo...

For teachers brave enough to ask students to perform their first improvisations, the excuses are all too familiar: "I don't know what notes to play", "I don't feel the rhythm", "It's too hard", and--eventually--just plain "I can't do it".  There are many factors preventing students from at least trying to make something up, among them ner...