Matthay Festival 2026
Boise State University
May 20-23, 2026
Wednesday
9:00
Welcoming remarks and Clara Wells Recital
Elsha Zhu
Chopin: Ballade No. 1 in G minor, op. 23
Rachmaninoff: Etude tableau in A minor, op. 39, no. 6
Debussy: Pour le piano: Prelude; Sarabande; Toccata
Hyeongji Choi
Beethoven: Sonata in E, op. 109
Ravel: La valse
10:00
Clara Wells reception
Historical Pedagogies
10:30
Ivy Lu Wang
"What Happened from Ludwig Deppe to Matthay? How Forearm Rotation Entered Modern Piano Pedagogy"
Forearm rotation is widely accepted today as a core principle of healthy piano technique, but this was not the case a century ago. For nearly 200 years of the piano’s
roughly 300-year history, the Finger School dominated piano playing. The transition away from finger-isolated technique was necessary, yet far from smooth. What happened between
Ludwig Deppe and Tobias Matthay?
By tracing how rotational movement evolved from a radical, rarely discussed, and even controversial idea into a widely accepted standard principle of piano technique,
this presentation examines the early twentieth-century pedagogue Ludwig Deppe and explores how Tobias Matthay later articulated the principle of forearm rotation in a systematic way.
Drawing on primary sources, including Amy Fay’s Music-Study in Germany (1880) and Elisabeth Caland’s Artistic Piano-Playing as Taught by Ludwig Deppe (1903), this study argues that Deppe was among the earliest pedagogues to recognize rotational and coordinated arm movements as natural components of efficient piano playing. Although Deppe never used the term “forearm rotation,” his descriptions of shaking movements and arm freedom reveal an implicit understanding of rotational biomechanics. Matthay’s The Forearm Rotation Principle: Its Application and Mastery is among the earliest studies to provide a thorough explanation of forearm rotation in piano technique, marking a significant advancement in early twentieth-century pedagogy. Tobias Matthay transformed earlier observations and experiential teaching into a coherent pedagogical system, articulating rotation as a central technical principle and embedding it within a broader framework of weight, movement, and coordination. This historical progression suggests that forearm rotation did not emerge as a newly imposed technique, but rather as an anatomical reality that required recognition and systematic explanation.
11:00
Gordon Marsh
"Communicating the Invisible at the Keyboard: Transmission, Sensation, and Circular Motion from Breithaupt to Matthay"
This presentation examines how pianistic knowledge is transmitted when its essential features—arm rotation, coordination of hand and finger, and tone production from the
key—cannot be reliably taught as visible elements. The session places the pedagogical writings of Rudolf Maria Breithaupt and Tobias Matthay in dialogue with lessons from Cécile Genhart,
asking how pianistic ideas are communicated, misunderstood, and eventually mastered. My encounter with Breithaupt came not through his book Natural Piano-Technic (1909), but through a
single lesson on Bach with Genhart, who transmitted these principles in a back-to-basics moment—one that has grown in importance over time.
The presentation considers points of convergence and divergence between Breithaupt and Matthay, whose pedagogical paths differ markedly in explanatory approach. Breithaupt speaks in terms of swings, tilts, and circular lines within a system of weight-bearing energy; Matthay offers an extraordinarily detailed—often dauntingly scientific—account of forearm rotation on the one hand, and “tone-point” key control (including the avoidance of key-bedding) on the other. In studio practice, however, these ideas tend to survive less through analytical description than through apt metaphor and cultivated sensation. Excerpts from Chopin, Rachmaninov, and Debussy will illustrate how circular motion and tone-point operate across contrasting textures and styles. Drawing on metaphors such as Genhart’s “thumbtack” and “throwing a ball,” as well as others developed in my own teaching, the session concludes with an open discussion inviting participants to share metaphors they use when teaching what cannot be seen, easily felt, or even named at the keyboard.
12:00
Joshua Painter
"Demystifying Tone Color: A Comparison of Matthay’s and Ortmann’s Understanding of Tone Quality"
Throughout history, tone quality in piano playing has been an important issue for performers and pedagogues alike. Pianists are taught that a beautiful, singing tone is good and a
harsh, uncontrolled sound is bad. But what causes these distinctions of tone quality? This has been the subject of much debate for well over a century, and many different approaches
to piano technique have arisen out of this very question.
Tobias Matthay was one of the first pedagogues to attempt to explain the scientific basis of piano tone production in his 1903 treatise The Act of Touch. Of particular interest in
my research is Matthay’s distinction between dynamic intensity and tone quality as two separate parameters to be manipulated. However, Otto Ortmann challenges this distinction in his
1925 book The Physical Basis of Piano Touch and Tone. He argues that dynamic intensity and tone quality are directly correlated.
My presentation will outline and compare both arguments in hopes of providing better understanding into what constitutes piano tone quality. Discussion will focus more specifically on
the question of what the pianist does and does not have control over. My hope is that listeners will be inspired to reevaluate how they engage with the concept of tone quality within
both their teaching and performing.
12:30
LUNCH (on your own)
2:00
Keynote Address: ROBERT HAMILTON
"On Artistry in Piano Playing"
"Artistry," like "Love," can suggest various things at differing levels of depth. In common use,
the word artistry may simply imply impressive skill or colorful craftsmanship. But on a higher
plane it also signifies originality or Creativity. Performing at this level requires freedom to
interpret, seeking and uncovering the profound wisdom and beauty that exists behind the
prerequisite music score. Prominent composers understood that no amount of score markings
could convey all they wanted to say, which is why, in their own performances, they have
routinely added numberless interpretive touches that are not printed. We re-creators should
do no less, but aim high as well, following in their footsteps.
3:00
BREAK and RECEPTION
Lecture Recitals I
3:30
Fredrica Phillips
"Franz Liszt Variations on a Theme by Bach “Weinen, Klagen, Sorgen, Zagen”: a Musical Legacy from Emil von Sauer and Egon Petri to Ozan Marsh and into the 21st Century "
This presentation will explore a legacy of musical performance of Franz Liszt’s Variations on “Weinen, Klagen, Sorgen, Zagen” that was passed on to me from my teacher,
the renowned pianist Ozan Marsh, at the Chautauqua Institution in Chautauqua, NY. This legacy was inherited by Ozan Marsh (1920-1992) from his teachers Egon Petri
(1881-1962, student of Busoni) and Emil von Sauer (1862-1942, student of Nikolai Rubinstein in Moscow and of Franz Liszt in Weimar). Liszt’s Variations on “Weinen, Klagen, Sorgen, Zagen”
gives the pianist ample opportunities to use the teaching principles of Matthay such as arm relaxation, touch and tone production. Interestingly, Matthay was born four years before Liszt
composed the Variations on a Theme by Bach “Weinen, Klagen, Sorgen, Zagen."
4:30
Peiyao Yu
"The Timeless Act of Touch: Bridging Past and Future in Modern Soundscapes"
The 2026 Festival theme, "Bridging Past & Future," invites us to view Tobias Matthay’s pedagogy not as a relic of the Romantic era, but as an essential toolkit for the
21st-century pianist. Although Matthay is best known for his work with standard repertoire, his core teachings on physical relaxation and tone production find their most rigorous
application in the stark landscapes of modern music.
This lecture-recital demonstrates how the Act of Touch serves as the key to unlocking the diverse soundscapes of the 20th century, exploring two contrasting extremes. First, we
examine the ultimate application of gravity in Henry Cowell’s "The Tides of Manaunaun." Here, the performer must utilize a total relaxation of the arm to transform massive tone clusters
from percussive noise into a resonant, oceanic roar.
Ideally juxtaposed against this mass of sound is Toru Takemitsu’s "Rain Tree Sketch II," where the focus shifts to the decay of sound. The technical challenge lies in sculpting silence
and controlling the precise release of the key to blend the work’s fragmented images.
By navigating from the visceral depth of Cowell to the ethereal mist of Takemitsu, this session proves that the technical foundation of the past remains the most effective key to
unlocking the soundscapes of the future.
7:45
Chamber Concert
LESLIE MOREAU, clarinet
LINDA KLINE, viola
BARTON MOREAU, piano
Mozart: Piano Sonata in D, K. 311
Franck/Bauer: Prelude, Fugue, and Variation
Poulenc: Sonata for Clarinet and Piano
Mozart: "Kegelstatt" Trio for clarinet, viola, and piano, K. 498
Bruch: Four pieces from Eight Pieces for Clarinet, Viola, and Piano, Op. 83
Thursday
Matthay Core I
9:00
TBA
10:00
Lindsay Bui
"Bridging the Gap: Applying Matthay’s Historical Pedagogy to Modern Piano Teaching for Children"
This presentation explores how Matthay’s The Child’s First Steps in Pianoforte Playing can be integrated into contemporary piano teaching methods. Matthay’s book offers a systematic
approach to developing healthy and comprehensive technique in young beginners, with the overarching goal of cultivating purposeful and meaningful playing.
I will provide teachers with a year-long outline for introducing Matthay’s step-by-step technical fundamentals into their teaching. Beginning lessons
focus on understanding the piano mechanism, arm weight, rotation, and key rebound to equip students with a solid technical foundation from the start. As
students advance to playing intervals and chords, these fundamentals are applied to their chord playing to maintain healthy technique. When students begin to
tackle repertoire with varied articulations, teachers can use Matthay’s approach to teach staccato, tenuto, and legato, emphasizing awareness of the key’s natural
rebound. These skills are then practiced in five-finger scales using rotation and further expanded to full octave scales with thumb under and finger over techniques.
Additionally, students learn to control arm weight and movement size in the context of arpeggios.
Participants will receive a handout with suggested sequencing, materials, and examples for introducing these concepts and incorporating them alongside today’s piano
methods including guidance on when and how to integrate these techniques into modern teaching practice.
10:30
BREAK
11:00
Stephen Siek
"Tobias Matthay: Composer, Pianist, and Lecturer"
In his formative years, Tobias Matthay idolized his two most prominent teachers, William Sterndale Bennett and Arthur Sullivan, and throughout his life
he honored their lineage by striving to reach the 19th-century ideal of the “Composer/Pianist.” For over a decade, he was even bitter that his appointment to the
Royal Academy of Music confined him to the teaching of piano, because he also longed to teach composition, and his pedagogical analysis of piano scores was always enriched
by his compositional sensibilities.
It may be no coincidence that his careful, prescient observations and analysis of the playing of Franz Liszt and Anton Rubinstein—both prolific composers—led to the verbal
explanations later found in The Act of Touch. But what is not so widely understood is that Matthay virtually invented the modern concept of the
Lecture/Recital, i.e. a piano performance carefully interlaced with verbal pedagogical insights that offers solutions to a composition’s musical and technical demands.
The Matthay Archives contain some of these typewritten lectures, especially those where he focused on his own compositions from a purely pedagogical standpoint. I intend to focus on two of these from a set originally composed in 1887 and later revised from 1897 to 1909—Studies in the Form of a Suite, op. 16, which includes a Prelude and a virtuosic etude he titled “Bravura.” We’ll examine Matthay’s pedagogical analysis of the Suite’s musical and technical problems, and the presentation will include a live performance.
12:00
Tiantian Liang
Lecture/Recital:
"York Bowen’s Pedagogical Works as Living Applications of Matthay’s Technique"
York Bowen (1884–1961), a distinguished student of Tobias Matthay, composed a great deal of concert works. Yet, his pedagogical compositions remain unexplored in both teaching and performance.
While recent scholarship has addressed Bowen’s pedagogical works from historical and analytical perspectives, this lecture-recital focuses on their practical application in the modern studio
through performance-based demonstration. This 25-minute lecture recital examines selected pedagogical works by Bowen as practical and musical examples of Matthay’s technical principles, offering
valuable insight for 21st-century piano students and teachers.
Through brief historical context and live performance excerpts, this session will highlight how Bowen’s teaching pieces address Matthay’s concepts, including arm weight, rotational freedom,
touch, and tone, while also showing how these pieces can stimulate a student’s musical imagination. Rather than serving as technical studies only, these works function as effective teaching
tools to combine technique and musical performance, an aspect of Matthay’s teaching philosophy.
This lecture-recital well demonstrate how Bowen’s pedagogical repertoire can be more effectively used in today’s teaching curricula , providing another option for study. Teaching strategies
and interpretive considerations will show how these works can be immediately applicable to today’s piano studios.
By reexamining Bowen’s pedagogical output through the lens of Matthay’s approach, this lecture-recital aims to reconnect historical technique with present-day teaching, showing how early
20th-century pedagogy continues to inform healthy, expressive piano playing from today’s students.
12:30
LUNCH
Lecture Recitals II
2:00
Thomas Lanners
"An Illustration of Matthay's Pedaling Principles in César Franck's Prelude, Chorale and Fugue"
Tobias Matthay, in his 1913 book Musical Interpretation, wrote that pianists must carefully attend to “the doings of our right foot just as minutely—and constantly—as we must
the doings of our fingers at the keyboard.” Matthay certainly took great interest in pedaling, having already written Principles of Fingering and Laws of Pedalling in 1908.
César Franck’s masterpiece, the Prelude, Chorale and Fugue, presents unique and extremely advanced challenges from a pedaling standpoint. The Prelude’s
highly chromatic 32nd-note figurations, frequently swirling around melodic whole notes sustained by the damper pedal, require very detailed “half” and “flutter” pedaling to honor both
rhythmic durations and figural clarity. The widely spaced rolled chords of the Chorale present difficulties in avoiding excessive blurring of harmonies while giving the impression that
the bass and soprano lines, often four octaves apart, are played perfectly legato. The Fugue brings together all the main musical themes of the first two movements, while raising the stakes
contrapuntally as it moves toward a glorious climax that requires all the additional resonance and tonal power the pedal can provide.
This session will illustrate that Matthay’s pedaling advice is timeless and essential to the successful execution of Franck’s work: “Foot and Finger together make up the musical effect we need, therefore do not let us separate these into distinct and often conflicting departments … At the piano, we must know no distinction or separateness between our right and left hands, neither may we make these distinct from our right Foot.”
3:00
Jim Lees
"American Moods (Part 2): The Music of Louis Moreau Gottschalk"
A lecture recital displaying numerous emotional facets of this most romantic of American composers. Pieces will include
"La chute des feuilles," "Manchega," "The Dying Poet," and "The Banjo."
4:15
AMAP Board Meeting
7:45
Evening Recital
STEPHEN BEUS
Mendelssohn: Sonata in E, op. 6
Medtner: Sonata-Reminiscenza, op. 38, no. 1, from the Forgotten Melodies Cycle
Ronn Yedidia: from Preludes for Young Pianists, Nos. 2, 1
J. S. Bach: Fugue in D minor, BWV 903
Ronn Yedidia: from Preludes for Children, Nos. 11, 12
Griffes: "Night Winds," op. 5, no. 3
Ronn Yedidia: from Preludes for Children, No. 8
Medtner: Sonata tragica, op. 39, no. 5, from the Forgotten Melodies Cycle
Friday
Matthay Core II
9:00
Yaqi Wang
"Reframing Matthay’s Tone Pedagogy for Digital-Age Students: A Scientific and Aesthetic Inquiry into Touch, Gesture, and Sound"
Contemporary piano teachers increasingly observe digital-age postural patterns in students—collapsed palms, rigid wrists, restricted arm-weight, and forward-leaning torso
position—conditions that directly compromise tone production and coordinated gesture. This presentation revisits Tobias Matthay’s principles of touch, intention, and tone
through the combined lenses of movement science and practice-based research conducted in modern piano studios.
Drawing on findings from studio observations and gesture-analysis sessions using slow-motion video, pressure-sensitive keyboards, and basic sound-spectrum tools, the presentation
highlights how digital-device habits alter movement sequencing, increase unintended muscular activation, and diminish tonal resonance. Matthay’s core ideas—“directed intention,”
“forearm balance,” “natural arm-weight,” and “elastic touch”—are shown to align closely with patterns identified in these practical experiments, providing an effective pedagogical
framework for addressing contemporary technical dysfunctions.
Teaching cases will illustrate how Matthay-informed strategies such as gravity-initiated touch, rotational release, and micro-gesture recalibration lead to observable improvements
in tone quality, student ease, and movement organization. By integrating historical pedagogy, current scientific insights, and practice-supported findings, this presentation offers
teachers an updated, evidence-informed approach to cultivating healthy, expressive tone in twenty-first-century learners.
9:30
Terry McRoberts
"Preparing 'Ballade' by Debussy with Matthay's Concept of Pre-hearing"
Tobias Matthay wrote that pianist should play every note at the instrument with intention. Each note should start at the intended moment in time with the desired volume,
articulation, and length in relation to the notes around it. In order to do this, the pianist needs to have a preconceived sound for the passage, which Denise Lassimonne called
pre-hearing. Matthay encouraged his students to study their musical scores away from the piano. This practice helps to form intentional rather than reactive performances. In this
session we will examine this concept, and how to execute it in preparation for Ballade by Debussy for performance.
We will examine writings by Matthay and his students on the concept of pre-hearing, the pianistic and musical challenges of this piece, and anecdotes of Matthay students
practicing and preparing repertoire with the concept of pre-hearing.
10:30
BREAK
11:00
CLARA WELLS Masterclass with
Stephen Beus
Elsha Zhu
Chopin: Ballade No. 1 in G minor, op. 23
Hyeongji Choi
Beethoven: Sonata in E, op. 109; 3rd mvmt
12:30
LUNCH
Lecture Recitals III
2:00
Wendy Freeland
Using Imagination in Promenades for Piano by Francis Poulenc
Francis Poulenc’s Promenades for Piano, a work depicting ten modes of transportation, reflects the excitement felt by Parisians in the 1910s and
1920s. As people today are captivated by the uses of technology to share and synthesize information, people one hundred years ago were enthralled by the
ability to travel and visit distant places. This wonderfully interesting composition, considered Poulenc’s most dissonant work, requires the teacher and performer
to draw upon their imagination. Poulenc uses unexpected pedal and dynamic markings to suggest the roar of an airplane engine and the nauseating sway of a boat.
He manifests these ideas in gestures that are pianistically difficult. Using visualization and storylines helps the performer overcome these challenges and bring the score
to life. This lecture recital will examine the influences that shaped Promenades, as well as remind us of the power of creating at the piano, both as teacher and performer.
2:30
Wenqing Wang
"Teaching Sound Through Structure and Faith: Liszt’s Harmonies poétiques et religieuses in Performance and Pedagogy"
This lecture-recital approaches Franz Liszt’s Harmonies poétiques et religieuses as a
pedagogical framework for teaching sound, movement, and large-scale musical thinking at
the piano. Rather than treating the cycle primarily as programmatic repertoire, the
presentation examines how Liszt’s compositional processes themselves model principles
that remain central to piano teaching today.
Drawing on selected movements—“Invocation,” “Bénédiction de Dieu dans la solitude,” and
“Funérailles”—the session focuses on recurring musical processes such as the gradual
widening of register across the keyboard, long-range dynamic shaping, textural
transformation, and the alternation between tension and release. These elements are
explored as pedagogical tools through which students can learn to organize sound over
extended spans, coordinate physical motion with musical intention, and sustain expressive
continuity without excess tension.
Performance excerpts demonstrate how these musical structures invite specific technical solutions: shaping extended crescendi through layered phrase arches, projecting dense chordal textures through coordinated movement and weight transfer, and managing extreme contrasts through efficient use of rotation and alignment. Emphasis is placed on how sound production emerges from physical organization rather than isolated finger action, allowing musical meaning to guide technique. By situating Liszt’s Romantic pianism within a pedagogical perspective, this lecture-recital highlights how historical repertoire can function as an active teaching medium rather than a stylistic display. The session proposes that Liszt’s synthesis of structure, gesture, and sound offers a powerful model for cultivating expressive depth, technical freedom, and embodied musical understanding in twenty-first-century piano students.
3:30
Yuru Jin
"Collaborative Listening and Coordinated Touch: Clara Schumann’s Four-Hand Arrangement through a Matthay Pedagogical Lens"
Clara Schumann’s role as an arranger has often been overshadowed by her identities as
pianist, composer, and editor. Yet her four-hand piano arrangement of Robert Schumann’s
Piano Quintet in E-flat Major, Op. 44 offers valuable insight into her pedagogical thinking
and interpretive priorities. Far from serving as a mere reduction of the chamber score, this
arrangement functions as a pedagogical bridge between nineteenth-century chamber music
traditions and contemporary piano teaching practices.
This presentation examines Clara Schumann’s arrangement through the lens of
Tobias Matthay’s pedagogical principles, particularly those concerning weight, balance,
and coordinated listening. The four-hand format necessitates a heightened awareness of
shared physical space, distributed weight, and collaborative tone production—concepts
central to Matthay’s approach to touch and bodily coordination at the keyboard.
By translating multi-instrumental textures into a collaborative four-hand piano setting, Clara preserves essential musical relationships while reshaping them for domestic music-making and pedagogical use. Selected musical examples demonstrate how this repertoire fosters ensemble awareness, structural listening, refined voicing, and long-range musical thinking. These skills align closely with Matthay’s emphasis on listening as an active, embodied process rather than a purely auditory one. Brief comparisons with four-hand works by Johannes Brahms further illuminate Clara Schumann’s distinctive pedagogical priorities, particularly her sensitivity to balance, voicing, and physical economy at the keyboard. Positioned within the broader context of nineteenth-century arrangement practices, this lecture highlights Clara Schumann’s work as a model for integrating historical repertoire and early twentieth-century pedagogical principles into twenty-first-century piano teaching. The session offers practical teaching applications for advanced high school and undergraduate students, demonstrating how four-hand repertoire can serve as an effective pedagogical tool for cultivating collaborative listening, physical coordination, and musically informed touch.
4:15
AMAP Annual Meeting
7:45
Evening Recital
LINDSAY GARRITSON
Liszt: Ballade No. 2 in B minor
Haydn: Fantasia "Capriccio," Hob. XVII/4
Tchaikovsky: Dumka, op. 59
Beethoven: 32 Variations on an Original Theme, WoO 80
Respighi: Notturno
Rachmaninoff: Sonata No. 2 in B-flat minor, op. 36 (revised 1931)
Saturday
9:00
Ivy Lu Wang
"From Injury to Artistry: The Principles of Matthay and Modern Kinesiology"
This presentation addresses a fundamental challenge for pianists: achieving expressive musical performance without physical toll. Grounded in my personal
experience with injury and recovery, I integrate basic kinesiology with Tobias Matthay’s concepts of mental audiation and arm weight to propose a more holistic
technical framework.
The session focuses on how "pre-hearing" a musical goal allows the body to interact with the keyboard’s resistance more efficiently, replacing tension with coordinated
movement. These principles will be applied through performances of Respighi’s Notturno and An-Lun Huang’s Chinese Rhapsody No. 2, Dance, specifically highlighting how tonal control
and "piano color" are products of mental intention and physical ease.
9:30
Siyang Yu
"Self-Reconstruction on Stage: A Reflective Thematic Analysis of the Experiences of Non-Professional Singers in Music Competitions at Universities"
The mental health of university students has become a global concern, and artistic participation as a potential non-pharmacological intervention is increasingly valued.
However, existing research mostly focuses on community choirs or music therapy, with little understanding of the profound experiences and psychological mechanisms of non-professional
students in competitive stage environments. This study aims to explore the personal experiences, psychological processes, and potential implications for mental health of non-professional
students participating in campus singing competitions.
A qualitative research design was used, and semi-structured in-depth interviews were conducted with 30 participants in singing competitions at the University of Cambridge and University College London. Data were analyzed using Braun and Clarke's (2006) method. This study revealed three core themes: (1) the stage as an "emotional conduit": from private repression to public and legitimate emotional catharsis; (2) performance as a "self-validating ritual": reshaping identity through competence and struggle; and (3) the competition as a "contradictory community": the fleeting connection and the desire for sustained support under competitive pressure. Research has found that music competitions provide participants with a unique "threshold space" where the public expression of emotions, the validation of self-ability, and the pursuit of social connection intertwine to form a complex system of psychological meaning. These findings suggest that competitive music activities are far more than mere entertainment; they can be a powerful and developmentally significant practice for promoting mental health. This study provides profound, evidence-based insights and concrete recommendations for universities to integrate structured arts activities into a broader mental health ecosystem.
10:30
BREAK
11:00
Robert Henry
"Practicing Like a Pro"
Practicing is a popular topic. Everyone wants to know how to practice more efficiently.
This is a session in three parts:
PART 1: The Mindset of the Professional, including goal-setting, patience, discipline, and identifying one's blind spots.
PART 2: The Science of How We Learn explores the latest research in cognitive neuroscience. Our brains prefer to learn in rather specific ways, and the following concepts are
discussed: spaced repetition, attention span, the magic number, short-term/working memory, habituation, ultradian rhythm, chunking, encoding, and association. Musical examples are
teased for each concept.
During this section, we also discuss how to manage mistakes in practicing and whether or not it's ok to make them. (Hint: it is.)
By educating ourselves about the learning process, we set the stage for turning our practice session into a learning snowball.
PART 3: The Ideal Practice Session. Using the knowledge we gained in Parts 1 and 2, we learn how to organize our practice session in the most efficient possible way,
using Mozart's G major Sonata as an example. We look at a 60-minute session and briefly discuss scales and warmups. We learn how to cycle through the pieces we are working on,
instead of simply practicing the same thing for an hour. Finally, we look at what should be happening within 5-20 minute increments—all the way down to what should be
happening even within 10-15 seconds.
12:00
LUNCH
1:30
Excursion TBD
3:00
Open Mic Recital for AMAP Members
5:30
Happy Hour
6:30
Closing Banquet
Back to American Matthay Association Home Page
Last Updated on 5/5/26
by Stephen Siek