The Creative Piano – Teaching Children (and Adults)

Teaching Private (Piano) Students

My approach to teaching piano is perhaps a bit different from more traditional paths. It is not style, method or level specific, rather, it seeks to immediately address and in time cover all elements of music creation, as well as of course proper physical technique on the keyboard.

Students both young and old, at any level of ability, are encouraged to bring music  they enjoy playing or would like to play. From there we expand into other repertoire, which they or I may introduce, that interests them.

Students are also encouraged from the start to compose, improvise and develop ear training and analytic skills. The approach we take is customized to the individual and accommodates their current ability.

Most importantly though, is that my philosophy is based on the premise that everyone has talent and the ability to creatively express their own unique individual voice. This is a key aim of artistic development in the lessons and classes I teach, both privately and in institutions.

So, for lessons, I ask the student to bring anything they’re interested in, and a blank manuscript book (preferably 10 stave). We create a customized and fluid methodology together. In the past, unique and entertaining recitals have been held in Gravity Arts Studio 1, located in my home in Jamaica Plain where I also teach privately. [link to BG article]

Realizing finished, performed product is central to my teaching approach, as having something of your own you can successfully share is one of the greatest joys of the music making experience.





Monday, January 17, 2000

By Linda Matchan / Globe Staff

The Sunday piano recital, an invitation-only affair, was about to start. The guests, who included Nobel Prize-winning Harvard chemist William Lipscomb and prominent jazz composer George Russell, took their places and studied the program, all original compositions. Hmmm, interesting. There was one piece called “The Evil Genie” and another intriguingly named “Pancakes on Mars.” There was “World Peace, Food and Presents,” a nod, evidently, to the holiday season, and the postmodern-sounding “Floured Child.”

Amid silence, the first performer, Jenna Lipscomb, daughter of William, took her place confidently at the Steinway grand piano, and with great composure rendered a rhythmic version of “Wild Horse Dancing.” The audience burst into applause.

After all, it’s not every 11-year-old who writes her own music, albeit with major assistance from her teacher, Ben Schwendener of Jamaica Plain.

But then Schwendener, 37, is no ordinary piano teacher. A jazz composer and member of the jazz-rock group Falling Objects, he offers students what he calls a “customized education” in piano. You won’t find any standardized beginning-level piano method books in Schwendener’s third-floor home studio, with their pictures of cute frogs hopping over notes, or clowns juggling clef signs. You won’t see any smiley-face stickers proclaiming “Wow!” or “Good job!” on students’ music after they’ve tackled a new piece.

Instead, Schwendener’s piano students (four adults, 14 children, ages 7-15) all receive a blank composition book. The rest is up to them – and their teacher. During the first lesson, he talks to them about their musical interests and abilities, figures out their strengths (strong rhythmic sense? melodic inclination?), and he helps them write their own pieces, based on themes they plunk out on the piano.

“Basically, I’m the artistic director” as well as piano teacher, Schwendener says. “I have yet to buy stickers for my students; they can stick anything they want to on their music, because everything they do is a work in progress.”

Yes, his students learn how to read music and the rudiments of theory, and are gradually introduced to the musical masters. But they don’t start their musical training the traditional way, through scales or finger exercises. “I don’t go down that road,” says Schwendener.

Instead, aiming to broaden their musical experience, he goes the improvisational route, indicating even to the youngest students that their musical instincts are worthwhile and relevant, and that they don’t have to be a Bach or Bartok to compose a meaningful musical theme. He might throw a scale into the lesson now and then, but it’s a scale on which to improvise.

“I want to demystify the compositional process and encourage improvisation and ear training,” said the upbeat, boyish-looking Schwendener in an interview after the recital, which featured 11 enthusiastic students playing an assortment of tunes from blues to a tango, a Celtic dance, a new arrangement of a Burt Bacharach tune, and variations on a song by John Lennon.

“Ultimately,” he says, “it’s the organic process of creating new music that appeals to me. I love the way all students are all different, and every student has different ideas about how the themes develop.”

He maintains that every child has an innate creative ability that can be expressed musically (though piano may not be the perfect outlet for them at the time, he allows), and that profound ideas can be conveyed in the simplest terms, even by a little person. Witness the creation of “Flower Fox,” a happy little folk ditty he wrote last year with his daughter, Elodi, then 3. It is based on three notes – E, F, and C – that Elodi picked out on the piano. She might not have been aware of it, but her dad harmonized her notes, using the inner modal harmonies of the F Lydian scale.

“That’s `Flower Fox’!” she said to him excitedly, spontaneously naming it.

On the day of the piano recital in Jamaica Plain, everyone seemed excited.